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nuuirtr  jfilnnc  rt  4>umc 
urcntCrloiilli  lov  hoi’s. 


omluuts  Itmlitc? 


ST  MARTIN-ES-VIGNES,  TROYES. 


Late  Renaissance.  1623. 

“Saincte  Anne  and  Sainct  Joachin  for  their  childlessness  were,  according  to  the  law, 
cast  out  of  the  Temple.” 

[See  p.  276. 


^torieh  ttKnfrows 

A Traveller’s  Introduction  to 
the  Study  of  Old  Church  Glass, 
from  the  Twelfth  Century  to  the 
Renaissance,  especially  in  France 


“Storied  windows  richly  dight, 

Casting  a dim  religious  light.” 

— Milton,  II  Penseroso 


BY 

A.  J.  de  HAVILLAND  BUSHNELL 

M.A.  (Oxon.) 


WITH  MAPS  AND  ILLUSTRATIONS 


New  York 

The  Macmillan  Company 
i9x4 


ALL  RIGHTS  RESERVED 


H48. 


1 \ 5 ^>  - 


Co 

31  8.  3.  OUcsitlafef, 

tfelloto  of  tije  Soctetu  of  Antiquaries. 


CONTENTS 


CHAP.  PAGE 

I.  INTRODUCTORY 1 

II.  MATERIALS,  COLOURS,  METHOD  ....  5 

III.  EXPLANATION  OF  TERMS  . . . . .11 

IV.  TRACERY . . 18 

V.  THE  OLDEST  GLASS 22 

VI.  PERIODS  AND  THEIR  HISTORY  ....  27 

VII.  EARLY  GOTHIC  GLASS  OF  THE  THIRTEENTH  CENTURY  32 

VIII.  MIDDLE  GOTHIC  GLASS  OF  THE  FOURTEENTH  CENTURY  37 

IX.  LATE  GOTHIC  GLASS  OF  THE  FIFTEENTH  CENTURY  . 42 

X.  RENAISSANCE  GLASS,  1500-1550  ....  50 

XI.  LATER  RENAISSANCE  GLASS 58 

XII.  GLASS-HUNTING  IN  NORMANDY  AND  MAINE,  BEGINNING 

WITH  ROUEN  CATHEDRAL  AND  ST  OUEN  . . 63 

XIII.  ROUEN  I ST  MACLOU,  ST  VINCENT,  ST  PATRICE,  MUSEUM  7 1 

XIV.  GRAND  ANDELY 78 

XV.  EVREUX  CATHEDRAL  AND  ST  TAURIN  ...  84 

XVI.  CONCHES,  SEES,  ALENCON  .....  94 

XVII.  LE  MANS  CATHEDRAL  . . . . . .101 

XVIII.  ST  PIERRE,  CHARTRES 115 

XIX.  CHARTRES  CATHEDRAL 119 

XX.  THREE  STORIED  WINDOWS  IN  CHARTRES  CATHEDRAL  133 


Vlll 


CONTENTS 


XXI.  GLASS  - HUNTING  IN  THE  CENTRE  OF  WESTERN 
FRANCE,  BEGINNING  WITH  THE  CHURCH  OF 
LA  TRIN1TE  AT  VEND6ME  . . . .145 

XXII.  CATHEDRAL  OF  TOURS 150 

XXIII.  CHAMPIGNY-SUR-VEUDE 163 

XXIV.  ANGERS  CATHEDRAL  AND  ST  SERGE  . . .167 

XXV.  POITIERS  CATHEDRAL  AND  STE  RADEGONDE  . . 177 

XXVI.  BOURGES  CATHEDRAL  AND  ST  BONNET  . . 190 

XXVII.  CATHEDRAL  OF  MOULINS 209 

XXVIII.  GLASS-HUNTING  EAST  OF  PARIS,  BEGINNING  WITH 

THE  CATHEDRAL  OF  SENS  . . . . 218 

XXIX.  ST  JULIEN  DU  SAULT 230 

XXX.  CATHEDRAL  OF  AUXERRE 235 

XXXI.  ST  FLORENTIN  AND  ERVY 244 

XXXII.  CATHEDRAL  OF  TROYES 255 

XXXIII.  TROYES,  ST  URBAIN,  STE  MADELEINE,  ST  NIZIER, 

AND  ST  MARTIN- ^8-VIGNES  . . . .263 

XXXIV.  CATHEDRAL  OF  CHALONS-SUR-MARNE  . . .277 

XXXV.  CHALONS,  ST  ALPIN,  AND  NOTP.E  DAME;  AND  ORBAIS  286 

XXXVI.  REIMS,  LAON,  SOISSONS 293 

XXXVII.  VINCENNES,  MONTMORENCY,  ECOUEN  . . . 303 

XXXVIII.  MONTFORT  l’aMAURY 314 

XXXIX.  PHOTOGRAPHS  OF  CHURCH  WINDOWS  IN  FRANCE  . 319 


BIBLIOGRAPHY 324 

INDEX 327 


LIST  OF  ILLUSTRATIONS 


ST  MARTIN-ES-VIGNES,  TROYES.  LATE  RENAISSANCE.  1623  Frontispiece 
“ Saincte  Anne  and  Sainct  Joachin  for  their  childlessness  were, 
according  to  the  law,  cast  out  of  the  Temple.”  Seep . 276.  Face  p. 

EARLY  GOTHIC  LANCETS  SEPARATED  BY  WALL  SPACE  . 18 

EARLY  GOTHIC  LANCETS  SEPARATED  BY  MULLIONS  . . 18 

EARLY  GOTHIC  LANCETS  ENCLOSED  BY  AN  ARCH  . . 19 

TYMPANUM  PIERCED  BY  THE  PLAIN  CIRCLES  OF  THE  EARLIEST 

GEOMETRICAL  TRACERY  . . . . . . 19 

TYMPANUM  PIERCED  BY  A CUSPED  CIRCLE  LINED  WITH  A 

TREFOIL 20 

TRANSITION  FROM  GEOMETRICAL  TO  FLOWING  TRACERY. 

POINTED  TREFOILS  WITH  NO  ENCLOSING  CIRCLES  . 20 

st  mary’s,  Cheltenham  : flowing  tracery  in  north 

TRANSEPT 21 

RIVENHALL,  ESSEX  : EAST  WINDOW.  FOUR  MEDALLIONS  AND 

THREE  PANELS,  PROBABLY  OF  XIIth  CENTURY  . . 23 

TROCADERO  MUSEE,  PARIS  (NO.  36)  : CROWNED  VIRGIN 

FROM  LA  TRINIT12,  VEND6ME.  XIIth  CENTURY  . . 26 

TROYES  CATHEDRAL  I THIRTEENTH-CENTURY  PANEL ) FEED- 
ING OF  THE  FIVE  THOUSAND 32 

MOULINS  CATHEDRAL  : EAST  WINDOW  OF  LATE  XVth  CEN- 

TURY ; CRUCIFIXION  WITH  THREE  ANGELS  BEARING 
CHALICES .44 


X 


LIST  OF  ILLUSTRATIONS 


SAINTE  MADELEINE,  TROYES  : ON  LEFT,  ST  ELOI  IS  GIVING 
ALMS  ; ON  RIGHT,  THE  PEOPLE  OF  NOYON  ASK  THE 
GOLDSMITH  ST  ELOI  TO  BECOME  THEIR  BISHOP.  FINE 

EARLY  RENAISSANCE.  1506  51 

EVREUX  CATHEDRAL  : PEDESTAL  OF  CANOPY  WITH  KNEELING 

FIGURES  IN  THE  CHOIR.  XVth  CENTURY  ...  86 

EVREUX  CATHEDRAL  : FEMALE  FIGURE  IN  THE  CHOIR  . 93 

LE  MANS  CATHEDRAL  : XIIth  CENTURY  MEDALLION  AT  THE 

BASE  OF  THE  WINDOW  OF  ST  GERVAIS  AND  ST  PROTAIS  102 
CHARTRES  CATHEDRAL  : SHAPED  IRON  FRAME  OF  THE 

WINDOW  OF  CHARLEMAGNE.  XIIIth  CENTURY  . . 142 

LA  TRINITE,  VEND6ME I FLAMBOYANT  WEST  FRONT  . . 145 

TOURS  CATHEDRAL  : BASE  OF  WEST  WINDOW  ; DONORS  OF 
LAVAL-MONTMORENCY  FAMILY  WITH  PATRON  SAINTS. 

END  OF  XVth  CENTURY 160 

POITIERS  CATHEDRAL  I EAST  WINDOW,  OF  MARVELLOUS 

COLOUR.  END  OF  XIIth  CENTURY  ....  183 

By  permission  of  M.  Jules  Robuehon. 

BOURGES  CATHEDRAL  I CHAPELLE  DE  BEAUCAIRE SS. 

GREGORY,  AUGUSTINE,  JEROME,  AMBROSE.  SECOND 

HALF  OF  XVth  CENTURY 190 

BOURGES  CATHEDRAL : CHAPELLE  OF  JACQUES  CCEUR THE 

ANNUNCIATION.  1450  203 

MOULINS  CATHEDRAL  : ENLARGED  PORTRAIT  OF  PIERRE, 

HUSBAND  OF  BARBE  CADIER.  LATE  XVth  CENTURY  . 209 

MOULINS  CATHEDRAL  : SECOND  WINDOW  IN  NORTH  NAVE. 

END  OF  XVth  CENTURY  . . . . . .211 

MOULINS  CATHEDRAL  : WINDOW  OF  ST  CATHERINE  AND  THE 
DUC8  DE  BOURBON.  LATE  XVth  CENTURY,  WITH  ST 
CATHERINE  OF  XVIth  IN  THE  CENTRE  . . . 212 

MOULIN8  CATHEDRAL:  WINDOW  GIVEN  BY  BARBE  CADIER. 

LATE  XVth  CENTURY  . . . . . .214 


LIST  OF  ILLUSTRATIONS  xi 

MOULINS  CATHEDRAL  I ENLARGED  PORTRAIT  OF  THE  DONOR, 

BARBE  CADIER  . . . . . . .215 

MOULINS  CATHEDRAL  : PORTRAIT  OF  AN  AGED  DONOR  AT  THE 

BASE  OF  THE  CRUSADERS*  WINDOW.  XVIth  CENTURY  . 216 

The  photographs  of  the  windoivs  at  Moulins  were  made  by  B.  Scharlowsky. 

SENS  CATHEDRAL:  GOOD  SAMARITAN  IN  NORTH  AMBULA- 
TORY. XIIIth  CENTURY 221 

SENS  CATHEDRAL:  JESSE  TREE  IN  SOUTH  TRANSEPT.  1502  223 

ERVY  : TRIUMPHS  OF  PETRARCH.  1602  ....  253 

TROYES  CATHEDRAL:  THE  PRESSOIR  (WINE  - PRESS),  BY 

LINARD  GONTIER.  LATE  RENAISSANCE.  1625  . . 260 

ST  URBAIN,  TROYES  : JESUS  WASHING  THE  APOSTLES*  FEET. 

XIIIth  CENTURY  .......  263 

ST  URBAIN,  TROYES  : THE  KISS  OF  JUDAS.  XIIIth  CENTURY  267 

SAINTE  MADELEINE,  TROYES  : LIFE  OF  ST  LOUIS.  RE- 
NAISSANCE. 1517 270 

SAINTE  MADELEINE,  TROYES  : CREATION  WINDOW.  XVIth 

CENTURY 271 

REIMS  CATHEDRAL  : NORTH  NAVE  CLERESTORY  ; KINGS  OF 
FRANCE,  WITH  THE  ARCHBISHOPS  WHO  CROWNED  THEM. 

XIIIth  CENTURY .293 

TROCADERO  MUSEE,  PARIS  (NO.  1)  CHURCH  TRIUMPHANT, 

WITH  A CHALICE  AND  THE  STANDARD  OF  THE  CROSS, 

OVER  THE  DROOPING  SYNAGOGUE.  XIIth  CENTURY 
MEDALLION  FROM  CHALONS  CATHEDRAL  . . . 303 


MAPS  SHOWING  IMPORTANT  CENTRES  IN  FRANCE  CONTAINING 


OLD  CHURCH  GLASS,  AND  THE  CHANNEL  PORTS  DIEPPE, 

Havre,  CHERBOURG,  and  ST  MALO  . . Between  62,  63 


STORIED  WINDOWS. 


CHAPTER  I. 

INTRODUCTORY. 

Most  of  the  books  on  Gothic  window  glass,  such 
as  the  excellent  works  of  Winston,  Westlake,  and 
Day,  are  rather  voluminous,  and  they  are  written 
from  the  standpoint  of  the  glass  artist  and  designer. 
Consequently,  from  the  point  of  view  of  the  be- 
ginner of  intelligent  ignorance,  who  wishes  on  enter- 
ing a church  or  cathedral  to  know  what  to  look  at, 
these  books  seem  to  suffer  from  the  fact  that  the 
authors  know  too  much.  Therefore,  apparently, 
there  is  still  need  of  a book  which  will  take  no 
knowledge  for  granted,  and  will  try  to  start  from 
the  position  of  one  who,  though  able  and  willing  to 
learn,  yet  is  wholly  ignorant  of  the  best  way  to  set 
about  doing  so.  The  idea  of  endeavouring  to  write 
such  a book  was  suggested  to  me  by  Mr  Sears,  a 
glass  artist  of  New  York,  whom  I chanced  to  meet 
in  Chartres  Cathedral.  We  went  round  together 

A 


2 


STORIED  WINDOWS 


examining  and  remarking  upon  the  windows,  and  as 
we  were  leaving  the  cathedral  after  a very  pleasant 
and  instructive  morning’s  work,  he  remarked:  “You 
look  at  these  windows  from  a point  of  view  which  is 
entirely  different  from  that  of  the  glass  designer. 
Why  do  you  not  write  a book  on  the  subject  ? ” I 
was  encouraged  to  take  his  advice  by  watching  the 
people  who  came  into  the  cathedral ; for  in  almost 
every  case  the  look  of  happy  anticipation  gradually 
faded  into  a blank  expression  of  hopeless  vacuity, 
and  it  was  manifest  that  they  wished  to  understand 
and  admire  the  old  glass,  but  felt  that  they  did  not 
know  how  to  begin. 

And  yet  in  these  days  of  universal  travel  the 
intelligent  study  of  church  window  glass  adds  a 
new  pleasure  to  the  excursions  of  those  who  travel 
by  motor  or  cycle  as  well  as  of  those  who  go 
by  rail.  For  churches  are  to  be  found  almost 
everywhere ; and  every  church  affords  the  pleasure 
of  the  chase  to  any  one  who  makes  a practice  of 
going  inside  to  study  the  windows.  Not  only  is 
it  delightful  to  discover  a fresh  store  of  old  glass, 
but  it  is  also  extremely  interesting  to  endeavour 
to  assign  the  glass  to  its  proper  period,  and  to 
examine  whether  it  is  in  its  original  place,  and 
if  so,  whether  all  the  glass  is  old,  or  how  much 
has  been  restored.  Furthermore,  it  is  a pleasant 
pastime  to  try  to  understand  the  pictures  and  their 
subjects,  and  to  decide  upon  their  artistic  merit. 
Even  if  the  glass  be  new,  the  colours,  the  subjects 
and  the  treatment  supply  much  food  for  reflection. 


INTRODUCTORY 


3 


And  if  the  new  windows  are  not  good,  there  is  a 
certain  satisfaction  in  criticising  them  and  finding 
out  reasons  why  they  are  less  pleasing  than  other 
new  windows.  Lastly,  there  is  gradually  formed  in 
the  memory  a store  of  windows  which  can  be 
compared  with  others,  and  from  that  comparison 
a standard  of  excellence  can  be  deduced  which 
will  greatly  increase  the  power  both  of  enjoyment 
and  criticism. 

One  caution,  however,  is  needful  at  the  outset. 
To  examine  church  windows  with  any  satisfaction 
it  is  absolutely  necessary  to  be  provided  with  a 
good  field -glass.  For  there  are  comparatively  few 
old  windows  so  placed  that  they  can  be  thoroughly 
well  seen  with  the  naked  eye.  When  the  field- 
glass  is  directed  towards  clerestory  windows  it  is 
realised  at  once  how  indispensable  an  adjunct  it 
is  to  the  enjoyment  of  fine  old  glass.  Another 
very  useful  recommendation  is  to  examine  the  glass 
from  the  outside,  for  this  will  often  determine  the 
question  whether  the  glass  is  old  or  new,  because 
the  outside  of  old  glass  is  generally  covered  with 
a whitish  patina  like  a thin  coat  of  dirty  white- 
wash, and  it  often  has  a number  of  little  hemi- 
spherical pits  on  the  surface  as  if  it  had  suffered 
from  smallpox.  Moreover,  it  is  wise,  if  possible, 
to  visit  the  same  window  in  the  forenoon,  the 
afternoon  and  the  evening,  because  they  look  very 
different  according;  as  the  sun  is  or  is  not  shining; 
through  them. 

Every  window,  without  exception,  described  in 


4 


STORIED  WINDOWS 


this  book  has  been  carefully  examined  with  a field- 
glass  from  the  inside,  and,  wherever  possible, 
from  the  outside  also,  before  attempting  descrip- 
tion, so  that  not  a single  window  has  been  described 
at  second-hand  without  being  personally  inspected, 
although  more  than  twelve  hundred  windows  are 
dealt  with  in  the  book. 


5 


CHAPTER  II. 

MATERIALS,  COLOURS,  METHOD. 

The  Gothic  glazier  had  four  materials  at  his  dis- 
posal wherewith  to  make  his  glass  pictures.  These 
are  : first,  white  glass  so-called,  yet  not  really  white 
but  of  a sea-green  colour,  because  the  sand  which 
forms  the  principal  component  of  the  glass  always 
contained  iron  as  well  as  silica,  and  the  early  glass- 
maker  did  not  know  how  to  get  rid  of  the  iron, 
and  he  was  therefore  obliged  to  put  up  with  the 
greenish  tint  caused  by  it.  As  time  went  on  the 
glass-maker  contrived  to  correct  the  colour  of  his 
glass  very  slowly,  until  towards  the  end  of  the 
fifteenth  century,  when  a great  change  took  place, 
and  the  glass  grew  almost  entirely  white  with  a 
faint  and  almost  imperceptible  tinge  of  yellow. 
This  change  was  owing  to  the  use  of  manganese 
which  is  found  in  a receipt  for  making  glass  in 
an  Italian  MS.  dated  1443. 

The  effect  produced  by  the  manganese  is  due 
to  the  following  causes.  The  iron  in  the  sand 
of  which  glass  is  made  is  in  the  form  of  protoxide 
of  iron  which  is  termed  Ferrous  oxide.  This  con- 


6 


STORIED  WINDOWS 


tains  one  atom  of  iron  to  one  atom  of  oxygen. 
The  binoxide  of  manganese  contains  one  atom  of 
manganese  to  two  atoms  of  oxygen.  This  converts 
the  Ferrous  oxide  into  a Ferric  oxide,  which  is  a 
sesquioxide  of  iron  containing  two  atoms  of  iron 
to  three  of  oxygen.  The  extra  oxygen  changes 
the  bottle-green  tint  to  a light  straw-yellow,  and 
the  slight  excess  of  manganese  produces  a mauve 
which  is  complementary  to  the  straw-yellow  and 
results  in  almost  pure  white.  Besides  the  greenish 
tint,  the  early  white  glass  contains  a great  many 
bubbles,  and  there  are  many  striations  on  the 
surface. 

The  second  material  of  the  Gothic  glazier  is 
coloured  pot-metal — that  is,  molten  glass  which  is 
coloured  throughout  in  the  melting  - pot  with  a 
single  clear  transparent  colour,  so  that  if  a mass 
of  pot-metal  is  broken,  each  of  the  fragments  is  of 
exactly  the  same  colour  as  the  unbroken  glass. 

The  third  material  is  flashed  ruby  glass — that  is, 
white  glass  coated  on  one  side  with  a thin  layer 
of  ruby  colour  produced  from  copper.  This  is 
done  because  the  ruby  pot-metal  is  so  dark  in  hue 
as  to  be  almost  black,  and  the  only  way  to  get  a 
clear  ruby  red  was  to  diminish  the  thickness  of  the 
red  pot-metal  by  spreading  it  over  white  glass. 
The  process  by  which  this  was  done  was  first  to  get 
a lump  of  white  glass  on  the  end  of  the  blow-pipe, 
and  then  to  insert  this  white  lump  into  molten 
ruby  pot-metal  and  thus  to  cover  it  over  with  ruby 
glass.  After  this  the  whole  was  blown  out  and 
then  cut  open  and  spread  out  in  a flat  sheet. 


MATERIALS,  COLOURS,  METHOD  7 


Flashed  glass  is  also  called  coated  glass,  and  in 
French  “verre  double.” 

The  fourth  material  is  a dark  - brown  enamel 
paint,  so  dark  as  to  look  black.  This  consisted 
of  powdered  white  glass,  coloured  with  oxides  of 
iron  or  manganese,  which  was  formed  into  a paste 
thick  enough  to  be  used  as  a paint.  After  it 
had  been  painted  on  the  glass  it  was  fired  on  to 
the  surface  at  such  a temperature  as  would  melt 
the  powdered  glass  back  into  a solid  state  and 
incorporate  it  with  the  glass  surface,  thus  really 
producing  glass  upon  glass. 

In  the  fourteenth  century  a fifth  material  was 
added  to  the  resources  of  the  Gothic  glazier,  which 
was  called  silver  stain.  It  is  the  only  material 
which  has  ever  been  discovered  which  can  stain 
the  surface  of  glass.  A solution  of  silver  was  found 
to  stain  the  surface  with  a yellow  colour,  varying 
from  lemon  colour  to  deep  orange,  with  a metallic 
tinge,  entirely  different  from  the  deep  strong  colour 
of  yellow  pot-metal,  which  often  has  a rich  tint  of 
greenish  brown.  The  silver  stain  was  composed  of 
silver  chloride  (which  is  soluble  in  ammonia),  mixed 
with  fusible  glass  and  sometimes  a little  ferric 
oxide.  The  reason  why  this  colours  the  glass  is 
that  on  fusing  a silver  salt  with  glass  the  silver 
replaces  some  of  the  alkali  and  calcium  of  the  glass 
producing  a silver  silicate,  which  is  yellow.  This 
yellow  stain  has  the  property  of  protecting  the 
surface  of  the  glass  from  weathering,  so  that  a 
piece  of  old  glass  may  be  often  found  much  cor- 
roded, while  the  surface  of  the  part  covered  with 


8 


STORIED  WINDOWS 


silver  stain  is  quite  smooth.  If  the  white  surface 
is  only  partially  stained,  then  the  stain  can  be 
detected  with  certainty,  owing  to  the  absence  of 
any  lead  to  separate  the  yellow  colour  from  the 
white.  The  early  silver  stain  of  the  fourteenth 
century  and  of  the  first  half  of  the  fifteenth  century 
has  a tendency  to  a brassy  yellow,  owing  to  the 
greenish  tint  in  the  white  glass.  As  the  glass 
gradually  lost  this  greenish  tint  the  silver  stain 
became  golden.  In  the  time  of  the  Renaissance 
in  the  sixteenth  century,  when  the  glass  is  almost 
entirely  white  with  an  imperceptible  yellow  tinge, 
the  silver  stain  assumes  a lovely  golden  hue. 

In  the  ‘ Archaeological  Journal,’  vol.  xvii.  p.  26, 
Winston  and  Walford  state  that  the  first  window, 
reckoning  from  the  east,  in  the  north  aisle  of  York 
Minster  affords  the  earliest  example  of  the  use  of 
yellow  stain.  They  consider  that  this  window  was 
executed  in  the  last  year  of  the  reign  of  Edward  I., 
i.e.,  in  1307. 

A process  which  was  introduced  in  the  middle 
of  the  fifteenth  century  may  be  regarded  as  having 
added  a sixth  material  for  the  Gothic  glazier. 
This  is  the  process  of  abrasion  by  which,  in  the 
flashed  ruby  glass,  the  layer  of  red  began  to  be 
partially  ground  off  or  rubbed  away,  so  as  to 
expose  a surface  of  white,  thus  enabling  one 
piece  of  glass  to  have  two  colours,  white  and  red. 
About  the  same  time  flashing  with  a layer  of 
blue  was  invented,  and  later  on  other  colours 
also  were  flashed.  The  result  of  making  flashed 
blue  glass  was  that  the  glazier  could  now  get 


MATERIALS,  COLOURS,  METHOD  9 


three  and  even  four  colours  on  one  piece  of 
glass.  The  third  colour  could  be  got  by  staining 
the  exposed  white  surface  yellow  with  silver  stain, 
and  the  fourth  by  adding  silver  stain  to  the  original 
blue  surface,  and  thus  producing  a greenish  colour. 
Now  that  glass  came  to  be  made  in  large  pieces, 
this  process  of  abrasion  was  particularly  convenient 
for  making  shields  charged  with  different  colours 
on  a single  piece  of  glass.  This  of  course  can  be 
detected  by  the  colours  touching  one  another  with- 
out any  lead  to  separate  them. 

The  colours  of  the  earlier  glazier  were  white, 
yellow  pot-metal,  olive  green  pot-metal,  blue 
pot-metal,  both  dark  and  light,  and  brownish 
purple  pot-metal,  with  a lighter  tint  of  the 
same  for  the  flesh  colour,  and  a beautiful  emerald 
green  pot-metal  as  well  as  flashed  ruby  and 
dark  brown  enamel  paint.  These  colours,  how- 
ever, varied  very  much,  because  the  early  glass- 
maker  had  little  scientific  control  over  his  results. 
For  he  did  not  know  how  to  refine  his  ores,  and 
was  therefore  compelled  to  use  crude  ores  of  iron  for 
red  and  some  green,  copper  for  emerald  green  and 
ruby,  cobalt  for  blue,  manganese  for  purple,  and 
antimony  for  yellow ; these  crude  ores  contain  so 
many  impurities  in  such  varying  quantities  that  no 
two  pots  of  glass  came  out  of  the  same  furnace  of 
exactly  the  same  colour.  Ruby  glass  was  formerly 
supposed  to  contain  gold ; consequently  at  the 
French  Revolution  it  was  proposed  to  destroy  all 
the  ruby  glass  in  the  church  windows  to  recover 
the  gold.  But  fortunately,  as  a preliminary,  some 


10 


STORIED  WINDOWS 


ruby  glass  was  analysed  and  found  to  contain  copper 
and  iron  but  no  gold. 

The  method  of  the  early  glazier  was  very  simple, 
for  he  used  neither  pencil  nor  paper  in  drawing  his 
design.  He  used  first  to  sketch  the  picture  with  a 
piece  of  lead  on  a whitewashed  board,  and  then  he 
cast  pieces  of  glass  suited  to  his  design,  and  cut 
them  as  well  as  he  could  into  shape  with  a red- 
hot  iron, — for  no  diamond  was  ever  employed  by 
the  Gothic  glazier.  The  pieces  of  glass  had  to  be 
fitted  together  to  make  up  the  design,  like  the 
pieces  of  a Chinese  puzzle.  The  accuracy  of  fitting 
was  secured  by  painfully  chipping  the  edges  with 
a kind  of  iron  hook,  which  was  termed  a grozing 
iron.  Consequently  the  edges,  being  more  or  less 
serrated,  bit  into  the  lead,  and  this  thick  glass 
became  more  firmly  fixed  than  the  thin  glass  of 
the  seventeenth  century,  the  edges  of  which  were 
smoothly  cut  with  a diamond. 


11 


CHAPTER  III. 

EXPLANATION  OF  TERMS. 

There  are  certain  terms  of  constant  occurrence 
when  speaking  of  glass,  and  it  would  help  to  a 
clear  understanding  if  they  should  be  explained 
beforehand.  One  of  these  is  a “ Quarry/7  The 
simplest  and  cheapest  way  of  glazing  a window  is 
to  fill  it  with  glass  cut  into  straight-sided  squares 
or  diamonds.  These  are  called  quarries,  from  the 
French  carve , a square.  The  earliest  plain  glazed 
windows  had  geometrical  patterns  in  white  glass 
of  interlacing  Romanesque  strap-work  leaded  on 
both  edges.  A little  later  on  quarries  were 
formed  into  patterns  outlined  with  lead,  as  in  the 
chapels  on  the  north  side  of  the  ambulatory  of  Le 
Mans.  But  although  plain  glazed  quarry  windows 
were  used  throughout  the  whole  period  of  the 
Gothic  glass,  yet  there  were  few  of  them,  because 
the  Gothic  glazier  was  rarely  satisfied  without  more 
ornament. 

This  took  the  form  of  windows  painted  in 
“ Grisaille 77 — that  is,  with  black  enamel  paint  on 
plain  white  glass.  In  the  thirteenth  century  the 


12 


STORIED  WINDOWS 


quarries  were  nearly  always  painted  with  a design, 
strongly  traced,  and  defined  by  black  cross-hatch- 
ing, which  usually  left  a margin  of  clear  glass  next 
to  the  lead.  In  Day’s  ‘Windows/  chap,  xiii.,  on 
Early  Grisaille,  are  illustrations  of  thirteenth- 
century  grisaille.  In  the  fourteenth  century  the 
leaded-up  pattern  was  simplified,  the  black  cross- 
hatching  and  strong  tracing  lines  were  given  up, 
and  natural  foliage  was  delicately  painted  in  gris- 
aille on  the  quarries,  which  were  enlivened  in  the 
centres  with  colour,  and  gradually  silver  stain  was 
employed  in  parts  of  the  foliage.  A great  deal  of 
the  glass  in  the  fourteenth  century  was  painted  in 
grisaille  of  an  extremely  beautiful  character.  The 
whole  light  was  framed  with  a coloured  border,  and 
sometimes  the  quarries  were  edged  with  strips  of 
coloured  glass.  Specimens  of  fourteenth-century 
grisaille  are  given  in  Day’s  ‘Windows/  chap,  xv., 
on  Middle  Gothic  detail. 

The  next  step  was  to  paint  figures  in  grisaille, 
of  which  the  earliest  known  instance  is  dated 
1328.  Next,  a coloured  figure  was  set  on  a gris- 
aille quarry  window  ; and  finally,  a coloured  figure, 
or  a figure  subject  of  two  or  more  figures,  occupied 
the  whole  centre  of  the  light,  and  an  equal  band  of 
grisaille  filled  the  spaces  above  and  below.  The 
whole  was  surrounded  by  a coloured  border,  which 
was  separated  from  the  stone  frame  by  a strip  of 
white  glass.  This  is  the  usual  style  of  the  four- 
teenth-century grisaille.  When  the  triforium  is 
glazed  the  windows  are  generally  in  grisaille.  In 
Westlake’s  ‘History  of  Design  in  Painted  Glass,’ 


EXPLANATION  OF  TERMS 


13 


vol.  i.  chap,  xix.,  are  many  beautiful  illustrations  of 
grisaille. 

“Patina”  is  the  name  of  the  whitish  coating  on 
the  outside  of  ancient  window  glass ; this  patina 
seems  to  be  much  the  same  as  the  white  coating 
on  the  weathered  surface  of  old  flints.  The  only 
apparent  difference  is  that  glass  being  made  of 
sand  containing  a mixture  of  silicates  is  more 
readily  attacked  by  water  and  by  atmospheric 
carbon  dioxide,  or  carbonic  acid,  than  the  pure 
or  nearly  pure  silica  of  flint.  An  unweathered 
black  flint  consists  mainly  of  silica  in  a colloidal 
or  glassy  form ; but  in  the  zone  of  weathering, 
which  extends  for  an  appreciable  distance  into  the 
body  of  the  flint,  there  are  signs  of  devitrification 
or  change  from  the  glassy  form,  because  the  silica 
in  that  zone  has  passed  partially  into  the  crystalline 
form.  Glass  is  more  rapidly  acted  upon  by  weather 
than  the  more  resistant  flint,  and  its  devitrification 
and  corrosion  by  the  solvent  action  of  acid  or  alkali 
dissolving  the  colloidal  or  amorphous  silica,  which  is 
more  soluble  than  the  crypto-crystalline  silica,  causes 
the  patina,  and  the  action  of  the  weather  is  intensi- 
fied by  the  effect  of  the  sand-blast,  or  blowing  of 
sand  against  the  surface.  A positive  proof  that  the 
patina  is  due  to  the  weather  is  to  be  found  in  the 
fact  that  the  glass  on  the  south  side  of  a building 
is  always  more  corroded  than  the  glass  on  the  north 
side. 

This  patina  accounts  for  a puzzling  phenomenon 
which  is  observed  in  connection  with  old  glass,  and 
which  is  sometimes  useful  in  detecting  new  glass. 


14 


STORIED  WINDOWS 


Old  glass  does  not  cast  a coloured  image  such  as 
is  caused  by  new  glass.  For  instance,  at  Ludlow, 
where  the  old  windows  have  been  repaired  here 
and  there  with  new  bits  of  glass,  there  can  be 
seen  a number  of  little  bits  of  colour  scattered 
on  the  wall  on  which  the  light  through  the  new 
pieces  of  glass  is  reflected.  This  absence  of  colour 
when  the  transmitted  light  is  reflected  from  a white 
surface  is  due  to  the  corrosion  of  the  weathered 
surface  of  the  old  glass,  by  which  the  light  as  it 
passes  through  the  glass  is  broken  up  and  scat- 
tered, and  therefore  it  does  not  cast  a coloured 
image,  such  as  is  produced  when  the  light  from 
modern  glass  is  reflected  from  a white  surface. 
The  whitish  colour  of  the  patina  is  caused  by  the 
scattering  of  reflected  and  transmitted  light  owing 
to  the  number  of  small  surfaces  exposed,  which  also 
causes  the  whiteness  of  powdered  or  ground  glass. 

The  cause  of  the  little  pits  in  the  surface  of 
patinated  glass  appears  to  be  that  after  devitrifi- 
cation has  taken  place  under  the  action  of  the 
weather,  silica  or  a compound  silicate  crystallizes 
out  in  the  form  of  small  spherical  masses ; and 
when  they  have  attained  a certain  size,  these  little 
masses  fall  out,  owing  to  the  action  of  frost  or  sand- 
blast or  rain  which  gradually  removes  some  of  the 
soluble  alkaline  silicates,  leaving  hemispherical  de- 
pressions or  pits  in  the  glass.  Such  spontaneous 
crystallisation  is  exemplified  in  the  “ rottenness  ” 
of  bottle-glass  and  the  spherulites  in  some  natural 
glasses,  such  as  obsidian  or  volcanic  glass. 

“ Saddle  - bars  ” are  bars  across  the  window  to 


EXPLANATION  OF  TEEMS 


15 


which  the  lead  is  attached.  They  are  usually 
straight  horizontal  bars,  but  in  thirteenth-century 
windows  they  are  often  shaped  to  fit  round  the 
medallions  and  half  medallions,  forming  a pattern 
of  iron  in  front  of  the  window  itself,  as  in  the 
window  of  Charlemagne  in  Chartres  Cathedral. 

A “Jesse  tree”  is  a favourite  design  in  the 
windows  throughout  the  whole  period  of  Gothic 
glass.  It  gives  the  genealogy  of  Christ  from  Jesse 
through  some  of  his  descendants.  The  usual  form 
is  that  of  a tree  springing  from  the  loins  of  a 
recumbent  Jesse,  amid  the  branches  of  which  are 
seated  the  ancestors  of  our  Lord,  culminating  in 
the  Virgin,  above  whom  sits  our  Lord  surrounded 
by  seven  doves  typifying  the  sevenfold  gifts  of 
the  Holy  Ghost.  The  idea  is  founded  on  the 
eleventh  chapter  of  Isaiah  and  Acts  xiii.  22  : 
“ There  shall  come  forth  a rod  out  of  the  stem  of 
Jesse,  and  a Branch  shall  grow  out  of  his  roots: 
and  the  spirit  of  the  Lord  shall  rest  upon  him, 
the  spirit  of  wisdom  and  understanding,  the  spirit 
of  counsel  and  might,  the  spirit  of  knowledge  and 
of  the  fear  of  the  Lord.  And  in  that  day  there 
shall  be  a root  of  Jesse,  which  shall  stand  for  an 
ensign  of  the  people ; to  it  shall  the  Gentiles  seek.” 

. . . “ I have  found  David  the  son  of  Jesse,  a man 
after  mine  own  heart,  which  shall  fulfil  all  my  will. 
Of  this  man’s  seed  hath  God  according  to  his 
promise  raised  unto  Israel  a Saviour,  Jesus.”  The 
Jesse  tree  was  made  in  each  century  from  the 
twelfth  to  the  sixteenth.  At  Chartres  is  a splendid 
Jesse  tree  of  the  twelfth  century.  In  the  cathedrals 


16 


STORIED  WINDOWS 


of  Le  Mans,  Tours,  Beauvais,  and  Troyes  are  Jesse 
trees  of  the  thirteenth  century.  In  England  there 
is  no  complete  Jesse  tree  of  the  twelfth  or  thirteenth 
centuries,  but  there  is  a fragment  of  the  twelfth 
century  in  York  Minster,  and  fragments  exist  of 
the  thirteenth  century  at  Lincoln,  Salisbury,  and 
Westwell,  Kent.  There  is  a brilliant  Jesse  window 
of  the  fourteenth  century  at  Wells  in  Somerset, 
and  others  are  in  St  Mary’s,  Shrewsbury  and 
Ludlow  in  Shropshire,  at  Mancetter  in  Warwick- 
shire, Selby  in  Yorkshire,  and  Dorchester  Abbey  in 
Oxfordshire.  There  are  Jesse  trees  of  the  fifteenth 
century  at  Margaretting  in  Essex,  and  Leverington, 
Cambs.  A magnificent  Flemish  Jesse  tree  of  the 
sixteenth  century  has  been  chopped  into  lengths 
to  fill  the  east  windows  of  St  George’s,  Hanover 
Square.  In  France  four  of  the  finest  Jesse  trees 
of  the  sixteenth  century  are  at  Evreux,  Sens, 
Troyes,  and  in  St  Etienne,  Beauvais. 

In  describing  the  position  of  the  windows,  the 
words  “ clerestory,”  “ triforium,”  “ ambulatory,” 
“apse,”  “ apsidal  chapel,”  and  “Lady  Chapel,”  are 
in  frequent  use. 

The  “clerestory”  rises  above  the  roof  of  the 
aisle,  and  contains  the  uppermost  row  of  windows 
in  the  church. 

The  “ triforium  ” is  a gallery  or  passage  above 
the  arches  and  below  the  clerestory. 

The  “ambulatory”  of  the  choir  is  the  passage 
which  runs  round  between  the  choir  and  the  out- 
side wall  of  the  Cathedral. 

The  “apse”  is  the  projection,  usually  of  a semi- 


EXPLANATION  OF  TERMS 


17 


circular  form,  at  the  east  end  of  the  choir ; if  there 
are  chapels  in  a semicircle  at  the  back  of  the  choir 
they  are  termed  apsidal  chapels. 

The  “Lady  Chapel”  is  the  chapel  dedicated  to 
the  Blessed  Virgin  Mary,  who  was  generally  called 
Our  Lady  in  ancient  times.  It  is  usually  situated 
in  the  centre  of  the  extreme  east  end  of  the  Cath- 
edral. The  word  Lady  is  really  in  the  possessive 
case,  as  in  Chaucer’s  line,  in  the  Prologue  to  the 
Canterbury  Tales,  speaking  of  the  Squyer : “ In 
hope  to  stonden  in  his  Lady  grace.”  In  France 
the  Lady  Chapel  is  called  the  Chapelle  de  Notre 
Dame. 


B 


CHAPTER  IV. 


TRACERY. 

The  “ Tracery  ” at  the  top  of  the  windows  is  often 
of  some  assistance  in  determining  the  earliest 
possible  date  of  the  window  glass.  So  that  it 
may  be  useful  to  describe  the  development  of  the 
tracery  of  different  periods.  In  the  twelfth  century 
the  window  had  the  round  arch  of  Romanesque 
or  Norman  style.  In  the  thirteenth  century  the 
window  at  first  took  the  form  of  a single  light 
of  long  narrow  pointed  lancet  shape.  Next,  the 
wall  space  between  two  lancets  was  gradually 
diminished  till  it  became  a mere  mullion  or  thin 
shaft  of  stone  separating  two  lights  of  the  same 
window.  Then  an  arch  was  employed  to  enclose 
two  or  more  lights.  The  tympanum,  or  blank  space 
of  stone  between  the  enclosing  arch  and  the  top 
of  the  enclosed  lights,  was  pierced  with  one  or 
more  circles.  Soon  these  circles  were  foiled  or 
cusped,  i.e.y  the  inside  of  the  circle  was  shaped 
into  a trefoil  or  quatrefoil. 

Fids  was  the  origin  of  Geometrical  tracery,  which 
began  about  1245  and  ended  about  1315.  It 


Early  Gothic  Lancets  separated  by  Wall  Space. 


Early  Gothic  Lancets  separated  by  Mullions. 


) 


Early  Gothic  Lancets  enclosed  by  an  Arch. 


PIERCED  BY  THE  PLAIN  CIRCLES  OF  THE  EARLIEST 

Geometrical  Tracery. 


TRACERY 


19 


therefore  extended  throughout  the  second  half  of 
the  thirteenth  century.  Geometrical  tracery  is 
formed  of  bars  and  ribs  which  are  all  about 
equidistant  from  each  other. 

At  first  only  simple  circles  and  other  geometrical 
forms  were  employed,  but  in  the  last  quarter  of 
the  thirteenth  century  long-lobed  pointed  trefoils 
appear  with  no  enclosing  circles. 

This  soon  led  to  the  complete  substitution  of 
flowing  lines  for  geometrical  forms  in  the  tracery ; 
and  the  Curvilinear  or  Flowing  style  began  early 
in  the  fourteenth  century,  and  lasted  about  fifty 
years,  ending  about  1360.  Flowing  tracery  arose 
from  the  omission  of  portions  of  the  enclosing 
circle,  thus  allowing  the  ribs  to  run  into  one 
another,  forming  lines  of  double  curvature  like  an 
elongated  S ; the  juxtaposition  of  the  foliations 
without  enclosing  circles  produced  curves  of  con- 
traflexure  (or  twisting  back)  which  resulted  in  an 
ogee  shape,  so  that  the  circle  shape  tends  to  dis- 
appear entirely.  The  old  church  at  Cheltenham 
contains  excellent  specimens  of  flowing  tracery. 
The  whole  period  of  Geometrical  and  Flowing 
tracery  from  1245  to  1360  is  generally  termed 
“ Decorated.” 

This  Flowing  tracery  with  its  irregular  openings 
began  to  present  serious  difficulty  to  the  designer 
and  glazier.  Consequently,  after  the  great  inter- 
ruption to  building  caused  by  the  Black  Death  in 
the  middle  of  the  fourteenth  century,  the  Perpen- 
dicular style,  with  its  vertical  mullions  extending 
right  up  to  the  top  of  the  window,  and  its  hori- 


20 


STORIED  WINDOWS 


zontal  transoms  or  stone  bars  going  straight  across 
from  side  to  side,  superseded  the  flowing  tracery. 

The  Perpendicular  style,  which  lasted  from  1360 
till  after  the  end  of  the  fifteenth  century,  was  a 
purely  English  style.  It  began  in  Gloucester 
Cathedral,  because  the  Black  Death  ended  first  in 
Gloucestershire 

In  France  the  Flowing  style  was  further  de- 
veloped, and  at  last  perhaps  debased,  into  a delicate 
and  intricate  network  of  waved  lines,  in  what  is 
termed  the  Flamboyant  or  flaming  style,  possibly 
because  it  dazzles  the  eye  like  flickering  flames,  of 
which  the  points  draw  together  at  the  top.  But 
the  Flamboyant  style  did  not  begin  in  France  till 
the  middle  of  the  fifteenth  century,  long  after  the 
Perpendicular  style  was  introduced  in  England. 
The  height  of  the  Flamboyant  tracery  often  exceeds 
the  height  of  the  lights  below  it.  Instances  of 
Flamboyant  tracery  can  be  seen  in  the  church  of 
St  Maclou  at  Rouen  and  in  the  Chapelle  de 
Vendome  in  Chartres  Cathedral,  and  in  the  church 
at  Alen£on ; the  west  front  of  La  Trinite  Church 
at  Vendome  is  one  of  the  very  best  specimens  of 
the  Flamboyant  style. 

The  classical  Renaissance  tracery  of  the  sixteenth 
century  is  marked  by  semicircular  and  elliptical 
curves,  and  by  the  entire  omission  of  the  Gothic 
cusping.  If  this  cusping  lingers  on  into  Renaissance 
time,  it  is  a sure  indication  of  the  period  of  transi- 
tion at  the  beginning  of  the  sixteenth  century. 

In  using  the  tracery  of  a window  as  a help  to 
decide  the  period  of  the  glass,  caution  is  necessary 


Tympanum  pierced  by  a Cusped  Circle  lined  with  a Trefoil. 


Transition  from  Geometrical  to  Flowing  Tracery.  Pointed  Trefoils 

WITH  NO  ENCLOSING  CIRCLES. 


ST  MARY’S, 


CHELTENHAM. 


Flowing  Tracery  in  North  Transept. 


I*ent  by  Mr  John  Sawyer. 


TRACERY 


21 


not  to  be  misled  in  cases  where  the  glass  is  not  in 
its  original  place.  For  instance,  at  Canterbury  the 
figures  have  been  removed  from  the  clerestory  of 
the  Choir  and  placed  in  the  window  of  the  south 
transept,  and  in  the  west  window  of  the  Nave.  In 
York  Minster,  says  Winston  (‘Hints/  p.  10),  the 
tracery  lights  of  many  of  the  clerestory  windows 
of  the  nave  are  filled  with  early  English  glass  of 
more  ancient  date  than  any  part  of  the  present 
fabric  that  appears  above  ground.  Also,  Mr  F.  M. 
Drake  states  that  in  the  noble  east  window  of  Exeter 
Cathedral  the  six  outer  figures  are  of  Rouen  glass  of 
the  first  quarter  of  the  fourteenth  century,  circa 
1320 ; but  the  three  central  figures  are  subsequent 
to  the  alteration  of  the  window  from  six  to  nine 
lights  in  1389,  so  that  these  three  figures  with  their 
yellow  stain  and  large  proportion  of  white  glass 
belong  to  the  transitional  period  of  the  end  of  the 
fourteenth  century,  over  sixty  years  later  than  the 
style  of  the  figures  in  the  six  outer  lights.  In 
France  there  is  a tendency  to  fill  up  gaps  in  the 
Choir  with  glass  taken  from  the  Nave.  At  Evreux 
in  the  Choir  clerestory  are  several  figures  which  have 
been  removed  from  the  clerestory  of  the  Nave.  And 
in  the  second  chapel,  on  the  north  side  of  the  Choir 
at  Evreux,  there  are  two  windows,  each  of  which 
has  figures  of  the  fourteenth  century  in  the  two  outer 
lights,  while  the  two  inner  lights  are  filled  up  with 
Renaissance  pictures.  The  drawings  of  Tracery 
were  kindly  supplied  by  Mr  Leonard  Barnard  the 
ecclesiastical  architect. 


22 

CHAPTER  V. 

THE  OLDEST  GLASS. 

References  have  been  discovered  which  prove  that 
coloured,  not  pictured,  glass  was  used  in  church 
windows  as  early  as  the  fifth  century.  But  pictured 
glass  has  not  been  traced  back  before  the  tenth 
century.  Richer,  writing  about  995,  says  that 
Adalberon,  Archbishop  of  Reims  in  969,  adorned 
the  Cathedral  with  glass  representing  different 
historical  subjects.  But  the  earliest  known  official 
record  of  church  window  glass  is  a statement  in 
1066,  the  year  of  the  Norman  Conquest,  to  the 
effect  that  the  Chapel  of  the  first  Benedictine 
Monastery  at  Monte  Cassimo  was  furnished  by  the 
Abbot  Desiderius  with  a whole  series  of  twenty- 
nine  windows.  In  1134  an  edict  was  issued  to 
prohibit  the  Cistercians  from  using  coloured  glass 
in  their  church  windows.  Practically  there  is  no 
Church  window  glass  known  to  exist  much  earlier 
than  the  beginning  of  the  twelfth  century,  except 
some  figures  in  the  clerestory  at  Augsburg,  which 
are  assigned  to  1000  a.d.,  and  windows  at  Hildes- 
heim  in  Hanover  and  Tegernsee  in  Bavaria  which 
are  said  to  belong  to  the  eleventh  century. 


RIVEN  HALL,  ESSEX. 

East  Window.  Four  Medallions  and  three  Panels,  probably  of 
XIIth  Century. 


THE  OLDEST  GLASS 


23 


The  earliest  notice  of  English  church  window 
glass  with  pictures  is  that,  in  1175,  Bishop  Hugh 
is  said  to  have  placed  round  the  altar  at  Durham 
several  glazed  windows  remarkable  for  the  beauty 
of  their  figures.  A clause  in  a treaty  of  Henry  the 
Second  and  Louis  VII.  (the  protector  of  Becket), 
who  died  in  1180,  allows  one  of  Louis  best  artists 
in  glass  to  come  to  England.  No  complete 
windows  of  the  twelfth  century  are  known  to 
exist  in  England,  although  there  are  some  frag- 
ments of  twelfth-century  glass  in  York  Minster, 
and  the  medallions  of  St  Birinus  at  Dorchester  (Ox- 
ford) are  assigned  to  this  period.  At  Rivenhall, 
three  miles  from  Witham  in  Essex,  are  four  circular 
medallions  and  three  panels  of  Byzantine  type, 
which  possibly  date  back  to  the  twelfth  century. 
These  were  purchased  in  1839  from  the  church 
of  Chenu  in  Normandy,  about  thirty-five  miles 
from  Tours,  by  the  Rev.  Bradford  Denne  Hawkins, 
Fellow  of  Pemb.  Coll.,  Oxon,  and  curate  of  Riven- 
hall.  This  glass  is  in  the  east  window  of  the 
chancel,  in  the  same  position  as  it  occupied  in  the 
chancel  of  Chenu.  The  centre  light  contains  the 
four  medallions  filling  a space  about  8 feet  in 
height  and  2 feet  3 inches  across.  At  Chenu  these 
were  in  a round-arched  Romanesque  window  of  the 
end  of  the  eleventh  century.  Each  medallion  is 
encircled  by  a double  ring  of  white  pearls,  enclosing 
a plain  band  of  ruby  glass,  as  in  the  twelfth-century 
windows  at  Angers.  The  interstices  between  the 
medallions  are  filled  with  plain  green  pot-metal,  and 
at  the  sides  are  little  pearled  half-circles,  enclosing 


24 


STORIED  WINDOWS 


a fan-shaped  ornament.  The  figures  are  very 
ancient,  with  scanty  clinging  drapery.  The  saddle- 
bars  are  straight.  The  lowest  medallion  contains 
the  Annunciation;  above  this  is  the  Presentation. 
The  third  has  two  figures  lowering  the  body  of 
Christ  into  the  tomb.  In  the  fourth,  at  the  top, 
the  Father  is  seated  with  an  angel  on  each  side,  and 
there  are  two  feet  with  heels  uppermost  apparently 
of  a prostrate  figure.  In  the  right-hand  south  light 
are  three  square  panels  of  which  the  two  at  the 
top  and  bottom  have  all  the  appearance  of  twelfth- 
century  work,  as  they  contain  the  somewhat  larger 
pieces  of  glass  which  are  found  in  the  twelfth 
century,  as  compared  with  the  glass  of  the  thirteenth. 
The  bottom  panel  contains  a fine  Byzantine  figure 
in  a yellow  robe,  with  a ground  of  streaky  ruby 
round  the  head,  which  has  a halo  and  a square- 
topped  head-dress  ending  on  the  sloping  shoulders. 
The  right  hand  is  raised  in  act  to  bless,  and  in  the 
left  is  a pastoral  staff  and  a book.  The  top  figure 
is  identical  in  all  respects  with  the  bottom  one, 
except  that  the  robe  is  green ; the  hands  are  very 
dark,  but  the  head  has  been  replaced  by  a poor  face 
of  a Renaissance  Madonna  in  white  and  yellow  stain. 
In  the  middle  panel  is  a knight  with  uplifted  sword, 
whose  figure  seems  to  have  been  turned  round  to  face 
the  tail  of  his  very  archaic  horse  ; most  of  the  colour 
is  pot-metal  yellow  ; it  is  said  to  be  inscribed  Robert 
Le  Main.  In  the  left-hand  north  light  is  a confused 
jumble  of  fine  glass,  mostly  Renaissance,  but  at  the 
bottom  is  an  apparently  earlier  dark-faced  figure, 
with  a pagan’s  turban  of  ruby  and  white,  holding 
a golden  cup,  suggestive  of  one  of  the  Magi.  In 


THE  OLDEST  GLASS 


25 


the  tracery  is  modern  blue  glass,  with  some  Flemish 
medallions  of  the  sixteenth  centur)'.  The  bottom 
of  this  splendid  glass  is  much  hidden  by  some  lumps 
of  carved  wood  ornamenting  the  top  of  the  reredos  ; 
nearly  the  whole  of  the  lowest  medallion  is  obscured 
by  this  modern  rubbish. 

There  is  a considerable  amount  of  undoubted 
twelfth  - century  glass  in  France.  The  finest 
windows  of  this  date  are  the  three  Romanesque 
windows  at  Chartres,  which,  with  the  Virgin  and 
Child  in  another  window,  escaped  the  fire  of 
1194.  In  Le  Mans  Cathedral  are  nine  windows 
of  about  half  a century  earlier — i.e.,  about  1100 — 
also  in  Romanesque  frames.  Other  glass  of  the 
twelfth  century  is  to  be  found  at  Angers,  Poitiers, 
Vendome,  Bourges,  St  Quentin,  Chalons-sur-Marne, 
St  Remi  at  Reims,  in  the  north  transept  at  Dijon, 
and  in  Paris  at  St  Denis,  and  in  the  Musee  de 
Sculpture  at  the  Trocadero.  Also  at  Strasburg, 
in  the  thirteenth  - century  windows  on  the  north 
side  of  the  nave  there  are  some  older  figures  of 
Kings  or  Emperors,  evidently  saved  from  the  old 
church  which  was  burnt.  In  Austria  some  of  the 
oldest  glass  is  found  in  the  cloisters  of  the  Abbey 
of  Heiligen  Kreuz  about  fifteen  miles  south-west 
of  Vienna. 

The  name  “ Romanesque,”  which  is  used  to  de- 
scribe the  round -arched  windows  in  which  the 
glass  of  the  twelfth  century  is  found,  is  applied, 
like  the  English  term  “Norman,”  as  a designation 
of  the  church  architecture  of  the  tenth,  eleventh, 
and  twelfth  centuries. 

In  England  the  twelfth  century,  ending  in  1200, 


26 


STORIED  WINDOWS 


includes  the  reign  of  William  the  Conquerors  son, 
Henry  the  First,  who  reigned  from  1100  to  1135  ; of 
his  nephew  Stephen,  who  died  in  1154,  and  was 
succeeded  by  Henry  the  Second,  who  died  in  1189, 
and  in  whose  reign  occurred  the  famous  quarrel 
with  Archbishop  Becket,  who  was  murdered  in 
Canterbury  Cathedral  in  1170,  and  within  three 
years  became  St  Thomas  of  Canterbury.  Richard 
the  First  succeeded  his  father,  Henry  the  Second, 
and  died  in  1199. 

In  France  the  kings  of  the  twelfth  century  begin 
with  Philip  the  Fair,  who  ended  his  long  reign  in 
1108.  His  son  Louis  VI.  reigned  till  1137,  and 
was  succeeded  by  his  son  Louis  VII.,  the  protector 
of  Becket,  who  died  in  1180.  Philip  Augustus 
succeeded  his  father,  Louis  VII.,  and  went  with 
Richard  Coeur  de  Lion  to  the  Crusade. 

The  fact  that  the  French  language  possesses  the 
distinctive  words  “ vi trail  ” or  “ vitraux  ” for  old 
church  window  glass,  and  “ verriere  ” for  a complete 
window,  while  there  are  no  such  distinctive  words 
in  English,  supports  the  theory  that  most  of  the 
oldest  English  glass  came  from  France,  or  was 
made  by  French  artists. 

This  theory  is  corroborated  by  the  well-known 
fact  that  a large  quantity  of  white  and  coloured 
glass  was  imported  from  Rouen  to  Exeter  in 
1317  of  such  high  quality  that  glass-makers  even 
now  can  recognise  the  Rouen  glass  in  Exeter 
Cathedral. 


TROCADERO  MUSEE,  PARIS.  (No.  36.) 

Crowned  Virgin  from  La  Trinite  Vendome.  XIIth  Century. 


27 


CHAPTER  VI. 

PERIODS  AND  THEIR  HISTORY. 

The  time  during  which  the  finest  and  most  abundant 
Gothic  glass  was  produced  lasted  through  three  cen- 
turies and  a half,  from  1200  to  1550,  beginning  with 
the  reign  of  King  John  and  ending  in  the  reign  of 
Edward  the  Sixth. 

This  time  is  divided  into  the  four  periods  by  which 
Gothic  glass  is  classified. 

First  Period.  Early  Gothic  glass  of  the  Thirteenth 
century,  ending  in  1300. 

Second  Period.  Middle  Gothic  or  “ Decorated  ” 
glass  of  the  Fourteenth  century,  ending  in 
1400. 

Third  Period.  Late  Gothic  or  “ Perpendicular  ” 
glass  of  the  Fifteenth  century,  ending  in 
1500. 

Fourth  Period.  Renaissance  glass,  of  which  the 
finest  was  made  in  the  first  half  of  the  Six- 
teenth century  from  1500  to  1550. 

There  is  an  important  transitional  period  between 
the  Late  Gothic  glass  and  that  of  the  Renaissance, 


30  STORIED  WINDOWS 

ceeded  by  his  son  Charles  the  Sixth,  who  died  in 
1422. 

The  devastating  effect  of  the  Hundred  Years’  War, 
combined  with  the  appalling  loss  of  life  caused  by 
the  Black  Death,  so  crippled  the  resources  of  France 
that  comparatively  little  church  glass  was  produced 
in  the  fourteenth  century,  and  therefore  fourteenth- 
century  glass  is  much  more  rare  in  France  than  the 
glass  of  other  centuries. 

The  Fifteenth  century  in  England  includes  the 
reigns  of  four  Henries,  from  Henry  the  Fourth  to 
Henry  the  Seventh,  interrupted  by  the  Wars  of  the 
Roses  which  interposed  the  Yorkists  Edward  the 
Fourth  and  Richard  the  Third  between  Henry 
the  Sixth  and  Henry  the  Seventh.  The  second 
half  of  the  Fifteenth  century  marks  the  end  of 
mediaeval  time  and  the  beginning  of  the  modern 
world,  owing  to  the  invention  of  printing  and  dis- 
covery of  America,  and  the  taking  of  Constanti- 
nople by  the  Turks  in  1453.  For  the  fall  of  Con- 
stantinople being  contemporaneous  with  the  in- 
vention of  printing  caused  the  spread  of  Greek 
learning  over  Western  Europe,  and  led  to  that  new 
birth  of  literature  and  art  which  is  known  as  the 
Renaissance. 

In  I ranee  in  the  Fifteenth  century,  Charles  the 
Seventh,  known  as  the  Victorious  (1422-1461), 
aided  by  Joan  of  Arc,  ended  the  Hundred  Years’ 
War  by  driving  the  English  out  of  France.  He 
was  succeeded  by  his  son  Louis  the  Eleventh,  the 
crafty  opponent  of  Charles  the  Bold  of  Burgundy, 
so  well  portrayed  by  Sir  Walter  Scott  in  ‘ Quentin 


PERIODS  AND  THEIR  HISTORY  31 


Durward.’  Louis  the  Eleventh  was  followed  by  his 
son  Charles  the  Eighth  in  1483,  who  married  the 
Duchesse  Anne,  and  thus  united  the  Duchy  of  Brit- 
tany to  the  Crown  of  France.  Charles  the  Eighth 
died  in  1498.  The  widowTed  Duchesse  Anne  carried 
out  the  singular  marriage-contract  by  which  she 
agreed,  if  he  died,  to  marry  his  successor,  Louis  XII. 
(1498-1515),  and  their  daughter  La  Reine  Claude, 
who  gave  her  name  to  the  greengage,  married 
Francis  the  First. 

The  Renaissance  period  in  England  is  mostly  filled 
by  the  reign  of  Henry  the  Eighth,  who  succeeded 
Henry  the  Seventh  in  1509,  and  died  in  1547,  and 
was  followed  by  Edward  the  Sixth,  who  died  in 
1553. 

In  France  the  famous  Renaissance  kings  are 
Francois  Premier,  who  reigned  from  1515  till  the 
year  of  Henry  the  Eighth's  death  in  1547,  and  his 
son  Henri  Deux,  the  husband  of  Catherine  de 
Medici  and  lover  of  Diane  de  Poitiers.  Henri 
Deux  died  in  1559. 


32 


CHAPTER  VII. 

EARLY  GOTHIC  GLASS  OF  THE  THIRTEENTH  CENTURY. 

The  single  lancets  of  the  thirteenth  century  are 
filled  in  five  different  ways : either  by  a figure 
under  a simple  low-crowned  canopy,  or  by  small 
medallions  and  panels,  or  by  a Jesse  tree;  the 
other  two  kinds  of  windows  are  those  of  white 
glass  painted  with  grisaille  patterns  in  dark  brown 
enamel  paint  and  generally  enriched  with  little 
pieces  of  colour,  and  the  plain  glazed  white 
windows  with  patterns  outlined  by  the  leads. 

The  clerestory  is  filled  with  huge  figures  under 
low-topped  canopies  surrounded  by  the  broad  col- 
oured border  characteristic  of  Early  Gothic  glass. 

In  the  lower  windows  the  Early  Gothic  glazier 
allowed  the  saddle-bars  across  the  window  to  re- 
strict his  design,  and  so  he  naturally  used  small 
medallions  and  half  medallions  and  panels,  in  the 
style  which  commenced  in  the  twelfth  century,  but 
continued  in  the  thirteenth  century  ; although  soon 
after  the  beginning  of  the  thirteenth  century  the 
straight  saddle-bars  were  generally  replaced  by  a 
network  of  iron  shaped  to  enclose  the  medallions 


TROYES  CATHEDRAL. 

Thirteenth-Century  Panel.  Feeding  of  the  Five  Thousand. 


EARLY  GOTHIC— 13th  CENTURY  33 


and  panels.  The  interstices  between  the  panels 
and  medallions  and  the  borders  were  filled  up  with 
a pattern,  which  in  England  usually  takes  the  form 
of  a floral  scroll  (see  Day's  illustration  in  ‘ Windows,' 
1st  edition,  p.  132),  and  in  France  of  a geometrical 
pattern  mostly  of  blue  and  red  resembling  a Scotch 
plaid.  The  difference  between  France  and  England 
in  this  point  may  be  noticed  at  Chartres,  where 
there  are  only  five  or  six  instances  of  the  Eng- 
lish floral  scroll,  and  at  Canterbury,  where  only 
one  window  has  the  French  diaper.  In  the 
thirteenth  century,  each  light  is  surrounded  by  a 
broad  coloured  border,  and  each  medallion  has  also 
a separate  border  round  it.  If  there  is  any  canopy 
in  a thirteenth-century  window,  it  is  small  and 
insignificant. 

The  early  Jesse  tree  in  a single  lancet  encircled 
by  a broad  border  of  deep  colour  is  generally  re- 
stricted to  the  East  or  West  end  of  the  building  in 
the  thirteenth  century. 

The  colours  employed  in  thirteenth-century 
windows  are  chiefly  a sapphire,  which  is  darker 
than  the  translucent  blue  of  the  twelfth  century, 
and  a ruby  which  is  very  streaky,  with  a good 
deal  of  yellow  pot-metal,  and  brownish  purple,  and 
a pale  brownish  pink  for  the  faces  and  flesh  tints. 
There  is  also  some  extremely  beautiful  emerald 
green.  What  white  there  is  has  a sea-green  tint ; 
but  little  white  glass  is  employed,  except  to  form  a 
pearled  ring  round  the  medallions.  The  preponder- 
ance of  colour  gives  the  rich  but  confused  effect  of  a 

c 


34 


STORIED  WINDOWS 


fine  Turkey  carpet.  The  drawing  is  flat  and  de- 
fective ; the  eye  shows  too  much  of  the  pupil,  which 
is  not  distinguished  from  the  iris,  both  together 
being  represented  by  a single  dot.  The  hands  and 
feet  resemble  wooden  combs,  and  the  knuckles  are 
often  represented  by  thin  lines  drawn  straight 
across  the  hands  and  feet.  The  face  is  of  an  oval 
shape,  the  eyes  are  large,  the  mouth  small  and  well 
formed,  the  chin  round,  and  the  parting  of  the 
beard  in  the  middle  of  the  chin  is  well  defined. 
The  trefoil-headed  foliage  is  very  conventional,  like 
the  work  of  a youthful  draughtsman.  The  leads  so 
completely  govern  the  design  that  one  test  of  an 
Early  Gothic  window  is  to  notice  whether  the  de- 
sign can  be  traced  by  looking  at  the  leads  from  the 
outside. 

The  splendour  and  intense  jewel-like  colour  of 
the  scintillating  glass  of  the  thirteenth  century  is 
mainly  due  to  three  causes.  The  glass  was  only 
made  in  small  pieces  at  that  time,  so  that  any  large 
patch  of  colour  is  made  up  of  a number  of  little 
pieces;  and  secondly,  the  early  glass-maker  had 
little  scientific  control  over  the  colours  produced 
from  crude  unrefined  ores,  and  therefore  these 
little  pieces  of  glass  had  a great  variety  of  shades 
of  colour ; thirdly,  the  surface  of  the  old  glass  was 
very  uneven  and  humpy,  and  the  same  piece  of 
glass  varied  considerably  in  thickness  from  one  side 
to  the  other,  so  that  the  light  came  through  the 
coloured  glass  at  all  sorts  of  angles,  owing  to 
irregular  refraction,  which  produced  much  vivacity 
and  play  of  colour. 


EARLY  GOTHIC— 13th  CENTURY  35 


In  England  perhaps  the  most  interesting  glass  of 
the  thirteenth  century  is  to  be  found  in  the  Becket 
windows  in  Canterbury  Cathedral.  Other  fine  glass 
of  the  period  is  to  be  seen  in  the  cathedrals  of  York, 
Lincoln,  and  Salisbury,  and  in  the  churches  of 
Westwell  in  Kent,  Grateley  Hants,  West  Horsley 
in  Surrey,  Stanton  Harcourt  in  Oxfordshire,  and 
Aldermaston  in  Berkshire,  and  there  are  seven 
medallions  of  thirteenth-century  glass  in  the  Jeru- 
salem Chamber  in  the  Deanery,  Westminster. 

In  France  Chartres  Cathedral  is  a perfect  treasure- 
house  of  thirteenth-century  glass.  The  cathedrals 
of  Le  Mans,  Bourges,  Poitiers,  Rouen,  Chalons-sur- 
Marne,  Angers,  Laon,  Coutances,  Beauvais,  Reims, 
Sens,  Tours,  Auxerre,  Troyes,  St  Quentin,  Amiens, 
Lyon,  Clermont-Ferrand  and  Beziers,  and  Notre 
Dame  de  Semur,  St  Jean-aux-Bois  near  Compiegne, 
the  Abbey  Church  at  Orbais,  and  the  church  of  St 
Julien  du  Sault,  also  contain  splendid  glass  of  the 
thirteenth  century,  and  the  Sainte  Chapelle  in  Paris 
is  filled  with  the  glass  of  St  Louis,  and  in  Notre 
Dame  the  great  rose  in  the  north  transept  is  very 
impressive.  In  the  Victoria  and  Albert  Museum 
is  some  thirteenth-century  glass  from  the  Sainte 
Chapelle,  which  is  very  favourably  placed  for  con- 
venient examination.  Likewise  in  the  Musee  des 
Antiquites  at  Rouen  there  is  a thirteenth-century 
window  which  is  quite  as  conveniently  situated  for 
inspection,  and  there  is  also  some  thirteenth-cen- 
tury  glass  equally  well  placed  in  the  Musee  de 
Sculpture  at  the  Trocadero  in  Paris.  In  the 
cathedral  and  church  of  St  Cunibert  at  Cologne, 


36 


STORIED  WINDOWS 


and  in  St  Elizabeth's  at  Marburg,  there  are  good 
windows  of  the  thirteenth  century.  Many  of  the 
pictures  in  the  thirteenth  century  can  be  best 
understood  by  reading  the  ‘ Golden  Legend  ’ of 
Jacobus  de  Voragine,  for  they  are  derived  from 
the  same  sources.  He  died  in  1298.  The  ‘ Golden 
Legend’  was  translated  from  Latin  into  English 
and  printed  by  Caxton,  and  Caxton’s  translation 
has  been  recently  reprinted  by  William  Morris  at 
the  Kelmscott  Press. 


37 


CHAPTER  VIII. 

MIDDLE  GOTHIC  GLASS  OF  THE  FOURTEENTH 
CENTURY. 

In  the  fourteenth  century  the  white  glass  is  still 
sea-green,  and  the  ruby  glass  is  still  streaky,  and 
the  pieces  of  glass  are  still  small,  and  the  only 
improvement  in  the  technique  is  the  invention  of 
silver  stain,  whereby  the  surface  of  the  glass  could 
be  stained  yellow,  of  a tint  of  lemon  deepening  to 
orange,  which  enabled  one  piece  of  glass  to  bear 
two  colours,  yellow  and  white,  without  any  lead 
between  them ; yet  there  is  a very  marked  change 
in  the  character  of  the  glass  pictures  of  the  four- 
teenth century.  The  medallions  are  abandoned, 
and  the  usual  design  is  a single  figure  framed  in 
a canopied  shrine.  The  fourteenth-century  glazier 
was  animated  by  a desire  to  diminish  the  gloom 
and  darkness  of  the  thirteenth-century  churches 
by  letting  in  more  light.  This  object  was  attained 
by  a greater  employment  of  white  glass,  especially 
in  the  form  of  grisaille. 

In  filling  his  window,  the  fourteenth-century 
glazier  was  confronted  by  the  difficulty  of  a long 


38 


STORIED  WINDOWS 


narrow  space,  which  could  not  be  conveniently 
filled  from  top  to  bottom  by  a single  figure,  because 
the  height  would  be  so  enormous  in  proportion  to 
the  breadth.  He  was  further  restricted  by  the 
practice  of  rigidly  confining  the  picture  within  the 
limits  of  the  light,  and  never  allowing  it  to  spread 
over  into  the  next  light.  One  way  of  getting  over 
this  difficulty  was  to  have  two  or  more  figures  in 
each  light,  one  on  top  of  the  other,  and  by  making 
the  canopy  large.  But  the  favourite  method  of  the 
fourteenth  century,  both  to  let  in  light  and  to  fill 
the  window  conveniently,  was  to  place  a single 
band  of  coloured  figures  horizontally  across  the 
centre  of  the  window,  and  fill  the  upper  and  lower 
compartments  with  an  equal  band  of  grisaille.  In 
the  fourteenth  century  the  grisaille  is  particularly 
beautiful,  being  delicately  painted  with  the  natural 
foliage  which  is  especially  characteristic  of  the 
fourteenth  century.  The  foliage  is  so  naturally 
drawn  that  it  is  easy  to  distinguish  the  oak,  ivy, 
vine,  maple,  hawthorn,  &c.  The  pieces  of  glass 
tend  to  become  rather  larger  than  those  of  the 
thirteenth  century.  The  coloured  border  is  much 
narrower  in  the  fourteenth  century  than  it  was  in 
the  thirteenth.  This  narrow  border  runs  all  round 
the  fourteenth-century  light,  being  separated  from 
the  stone  by  a narrow  strip  of  white  glass.  The 
colour,  though  bright  and  strong,  is  not  so  intense 
and  velvety  as  in  the  glass  of  the  thirteenth  century. 
One  very  marked  characteristic  of  the  fourteenth- 
century  picture  is  the  large  and  often  top-heavy 
canopy  of  richly  coloured  pot-metal,  especially  yellow 


MIDDLE  GOTHIC— 14th  CENTURY  39 


inclining  to  greenish  saffron  brown,  which  may  be 
seen,  for  instance,  at  Evreux ; this  canopy  usually 
has  high-pitched,  flat-faced,  straight-sided  gables 
and  flying  buttresses  and  lofty  spire  and  pinnacles, 
and  it  generally  ends  abruptly  without  any  pedestal. 
There  is  a good  illustration  of  such  a canopy  in 
Day’s  ‘Windows,’  1st  edit.,  p.  155.  The  figures 
are  shorter  and  broader  than  in  the  preceding 
century,  and  the  flowing  drapery  covers  a great 
part  of  the  feet.  About  the  middle  of  the  century 
the  mouth  represented  heretofore  by  a single  waved 
line  of  three  curves  begins  to  show  the  upper  and 
lower  lips.  Towards  the  close  of  the  century 
pointed  shoes  are  worn.  Besides  the  single  figure 
with  a canopy,  many  lower  windows  in  the  four- 
teenth century  contain  figure  subjects  with  two  or 
more  figures,  as  in  the  church  of  St  Ouen  at 
Rouen,  the  cathedral  of  Evreux  and  St  Nazaire 
at  Carcassonne. 

In  England  fourteenth-century  glass  is  tolerably 
plentiful.  It  is  to  be  found  in  the  great  East 
window  of  Gloucester  Cathedral,  which  disputes 
with  the  East  window  of  York  Minster  the  claim 
of  being  the  largest  window  in  the  world.  The 
Gloucester  window  is  of  peculiar  interest,  because 
it  was  put  up  in  memory  of  the  battle  of  Cregy, 
and  it  contains  the  shields  of  Edward  the  Third 
and  the  Black  Prince,  and  of  knights  connected 
with  Gloucestershire  who  fought  at  Creqy.  But 
though  the  window  dates  from  little  after  the 
middle  of  the  fourteenth  century,  yet  the  amount 
of  white  glass  in  it  approaches  the  style  of  the 


40 


STORIED  WINDOWS 


following  century.  In  Tewkesbury  Abbey  are 
eight  windows  of  the  fourteenth  century,  placed 
four  on  each  side  of  the  clerestory  of  the  apse. 
In  Oxford  in  Merton  Chapel  is  contained  some  of 
the  very  earliest  of  the  fourteenth-century  glass  in 
fourteen  windows  of  the  Choir ; in  fact,  this  glass  is 
essentially  transitional,  for  though  it  has  the  natural 
foliage  and  the  omission  of  cross-hatching  which 
belong  to  the  fourteenth  century,  yet  it  is  connected 
with  the  style  of  the  thirteenth  century  by  the 
strong  tracing  lines  and  the  entire  absence  of  yellow 
stain ; on  the  other  hand,  the  seven  windows  of 
Wykeham’s  glass  in  New  College  Chapel  date  from 
the  end  of  the  century ; there  is  also  some  four- 
teenth-century glass  in  the  cathedral  and  in  the 
church  of  St  Michael  in  Oxford.  Other  churches 
which  contain  fourteenth-century  glass  are  at 
Willesborough,  Selling,  and  Chartham  in  Kent, 
North  Luffenham  in  Rutland,  Sheering  in  Essex, 
Deerhurst  in  Gloucestershire,  Beer  Ferrers  in  Devon, 
Lowick  and  Stanford  in  Northamptonshire,  Wrangle 
in  Lincolnshire,  Norbury  in  Derbyshire,  Ludlow  in 
Shropshire,  Dorchester  and  Waterperry  in  Oxford- 
shire, Mancetter  and  Merivale  in  Warwickshire,  and 
at  Shrewsbury  in  the  East  window  of  St  Marys  ; 
also  in  the  cathedrals  of  Bristol,  Exeter,  Wells, 
Hereford,  Lincoln,  and  Ely,  in  the  nave  and 
chapter-house  of  York  Minster,  and  the  churches 
of  St  John’s,  St  Dennis,  St  Martin  cum  Gregory, 
and  All  Saints,  North  Street,  York. 

In  France  there  is  fourteenth-century  glass  in 
the  cathedrals  of  Evreux,  Sees,  Beauvais,  Amiens, 


MIDDLE  GOTHIC— 14th  CENTURY  41 


Mantes,  Narbonne,  Toulouse,  Bordeaux,  Limoges, 
Dol,  Coutances,  and  Troyes ; and  the  earliest  four- 
teenth-century glass  is  to  be  found  in  the  church  of 
St  Urbain  at  Troyes,  and  at  Tours  in  the  windows 
of  St  Martin  in  the  apsidal  chapel.  There  is  also 
splendid  glass  of  this  period  in  the  church  of  St 
Ouen  at  Rouen,  St  Pierre  at  Chartres,  St  Nazaire  at 
Carcassonne,  and  St  Radegonde  at  Poitiers,  and  at 
Carentan,  Pont  de  1’ Arche,  and  Nesle-Saint-Saire. 

There  is  also  glass  of  the  fourteenth  century  in 
Germany  in  the  cathedrals  of  Cologne,  Strasburg, 
Regensburg,  Augsburg,  Erfurt,  and  Freiburg-am- 
Breisgau,  and  the  churches  of  Nieder-Hasslach  at  the 
foot  of  the  Vosges,  and  of  St  Sebald,  Nuremberg; 
and  in  Italy,  in  the  cathedral  of  St  Francis  at  Assisi, 
and  at  Santa  Croce  and  Santa  Maria  Novella  at 
Florence. 


42 


CHAPTER  IX. 

LATE  GOTHIC  GLASS  OF  THE  FIFTEENTH  CENTURY. 

In  the  fifteenth  century  the  ruby  glass  ceases  to  be 
streaky  and  becomes  smooth  and  uniform ; the 
warm  sea-green  tint  of  the  white  glass  gives  place 
to  a cold  bluish  green,  and  the  glass  gradually 
becomes  more  colourless.  The  smear  shading  is 
replaced  by  stipple  shading,  which  was  produced 
by  covering  the  white  glass  with  a complete  coating 
of  brown  enamel  paint,  and  then  tapping  the  surface 
with  a brush,  leaving  a granulated  surface  through 
which  pin-points  of  light  sometimes  appear;  after 
this,  parts  of  the  stippled  paint  were  entirely 
scraped  off  where  shadow  was  not  desired.  The 
general  use  of  stipple  shading  in  the  fifteenth 
century  greatly  changed  the  character  of  the  glass 
pictures ; for  it  remedied  the  flatness  of  the  earlier 
drawing  by  enabling  the  shadows  to  be  considerably 
deepened  without  loss  of  transparency,  owing  to  the 
little  pin-points  of  light.  Consequently,  a more 
pictorial  effect  was  produced,  which  gradually  led 
to  the  beautiful  relief  of  the  Renaissance  windows 
in  the  century  following.  There  is  a great  change 


LATE  GOTHIC— 15th  CENTURY  43 


from  the  richly-coloured  pot-metal  of  the  canopy  of 
the  fourteenth  century,  which  is  superseded  by  an 
architectural  crocketed  canopy  of  white  glass  with- 
out any  colour  except  the  yellow  of  the  silver  stain. 
This  fifteenth-century  canopy  has  no  spire  and  is 
rarely  flat-fronted ; generally  it  projects  at  the  top 
writh  three  fronts,  of  which  the  two  at  the  sides  are 
in  shadow.  In  the  latter  half  of  the  fifteenth  century 
the  niche  is  shown  to  be  hollow,  and  the  groining 
is  conspicuously  displayed.  The  narrow  coloured 
border  and  the  strip  of  white  glass  next  to  the  stone 
disappear,  and  are  replaced  by  the  white  shafts  of 
the  canopy,  which  usually  terminate  in  a pedestal. 
The  great  height  of  the  canopy  fills  out  the  window, 
and  thus  does  away  with  the  necessity  for  the  four- 
teenth-century bands  of  grisaille  above  and  below 
the  central  band  of  colour.  The  windows  are  often 
completely  filled  with  many  figures  one  above  the 
other,  as  in  the  North  transept  window  in  the 
cathedral  of  Le  Mans  described  on  p.  112. 

The  characteristic  which,  above  all,  distinguishes 
the  windows  of  the  fifteenth  century,  especially  in 
England,  is  the  very  silvery  tone  imparted  by  the 
extremely  large  proportion  of  white  glass ; for  the 
faces  are  no  longer  in  brownish  pink,  but  entirely 
white,  and  the  hair  is  often  stained  yellow,  and 
frequently  the  drapery  is  white,  and  the  foliage, 
which  has  lost  the  natural  character  of  the  four- 
teenth century  and  becomes  much  more  conven- 
tional, is  in  white  with  yellow  stalks.  The  numerous 
flowers  are  well  drawn,  especially  the  lily^and  the 
rose,  which  has  the  incurved  petals  characteristic 


44 


STORIED  WINDOWS 


of  the  fifteenth  century.  Though  the  foliage  both 
in  the  thirteenth  and  fifteenth  centuries  is  conven- 
tional in  contrast  with  the  natural  drawing  of  the 
foliage  in  the  fourteenth  century,  yet  there  is  a 
wide  difference  between  the  two,  for  in  the 
thirteenth  century  the  conventional  drawing  is 
like  the  work  of  a child  who  is  trying  to  represent 
natural  forms ; whereas  in  the  fifteenth  century  the 
conventionality  is  that  of  an  artistic  designer  who 
starts  from  natural  forms  and  deliberately  alters 
them  to  conventional  ornament. 

The  proportion  of  colour  to  white,  in  an  English 
window  of  the  fifteenth  century,  is  rarely  more  than 
one-fourth,  and  often  falls  as  low  as  one-sixth.  The 
colour  is  bright  and  gay  but  not  deep.  The 
attitudes  are  natural,  and  the  drapery  falls  in 
broad  folds,  and  is  often  decorated  with  jewelled 
bands.  The  lines  in  the  faces  are  few,  thin,  and 
faint,  except  in  the  nose  and  mouth  and  the  pupils 
of  the  eye. 

After  1450  there  is  a considerable  change  in  the 
style  of  the  glass  of  the  fifteenth  century.  In  the 
preceding  periods  the  glazier  was  predominant,  and 
the  draughtsman  was  his  humble  assistant ; and  the 
glazier  thought  first  about  his  glass  and  his  leads. 
But  in  the  latter  half  of  the  fifteenth  century  the 
painter  began  to  overpower  the  glazier,  and  to  think 
first  of  his  picture,  and  afterwards  to  consider  how 
it  might  be  glazed  with  as  little  interference  from 
the  leads  as  possible,  so  that  the  leads  no  longer 
govern  the  design.  As  a natural  consequence  of 
this,  the  picture  begins  to  extend  beyond  the  single 


MOULINS  CATHEDRAL. 


LATE  GOTHIC— 15th  CENTURY  45 


light,  until  gradually  it  comes  to  disregard  the 
mullions,  and  to  spread  over  the  whole  window.  At 
the  same  time  the  glass,  owing  to  the  use  of 
manganese,  loses  the  green  tint  and  becomes  almost 
pure  white  with  a faint  tinge  of  yellow.  The 
pieces  of  glass  grow  larger,  and  the  nimbus  or 
halo  is  glazed  in  one  piece  with  the  head.  The 
yellow  stain  on  the  white  glass  assumes  a more 
golden  hue.  The  practice  of  abrasion  enables  the 
two  colours,  ruby  and  white,  to  appear  on  one  piece 
of  glass,  and  the  invention  of  flashed  blue  makes  it 
possible  for  four  colours — blue,  yellow,  white,  and 
green — to  be  used  on  the  same  piece  of  glass. 

The  late  Gothic  glass  of  the  fifteenth  century  is 
found  in  England  at  York,  in  the  huge  East  window 
of  York  Minster  (the  contract  for  glazing  which  was 
signed  in  1405),  and  in  the  windows  of  the  choir,  as 
well  as  in  the  churches  of  All  Saints,  North  Street, 
St  Michael,  and  St  Martin  le  Grand ; at  Winchester 
in  the  West  window  of  the  cathedral  and  at  St 
Cross;  in  London  at  St  Stephen’s  Chapel,  West- 
minster ; at  St  George’s,  Windsor ; in  the  ante-chapel 
of  All  Souls  in  seven  windows  of  circa  1442,  and  in 
four  windows  of  the  library  of  Trinity,  Oxford  ; and, 
above  all,  in  Malvern  Priory  ; and  also  in  the  churches 
of  Little  Malvern  ; of  Thornhill,  Elland,  and  Methley 
in  Yorkshire  ; of  Ashton-under-Lyne  in  Lancashire  ; 
of  Nettlestead,  Lullingstone,  and  West  Wickham  in 
Kent;  of  Ludlow  in  Shropshire;  of  St  Mary’s,  Shrews- 
bury ; of  Martham,  Wiggenhall  St  Mary  Magdalene, 
and  East  Harling  in  Norfolk ; of  Combs,  Long  Mel- 
ford,  and  Hessett  in  Suffolk ; of  Wells  in  Somerset ; 


46 


STORIED  WINDOWS 


Doddiscombsleigh,  Devon ; Melbury-Bubb  in  Dorset ; 
Leverington,  Cambs. ; Margaretting  and  Thaxted  in 
Essex ; Newnham  Paddox  in  Denbigh ; St  Mary’s, 
Ross  ; Buckland  and  Cirencester  in  Gloucestershire ; 
and  Beauchamp  Chapel  in  Warwick  (see  note  on 
the  glass  in  Beauchamp  Chapel  at  the  end  of  the 
chapter).  In  the  Victoria  and  Albert  Museum 
there  is  a fine  window  from  Winchester  College 
Chapel,  of  the  early  part  of  the  fifteenth  century, 
about  1415. 

In  France  there  is  fifteenth-century  glass  at  Rouen, 
in  the  cathedral,  and  in  the  churches  of  St  Ouen 
and  St  Maclou ; at  Caudebec  down  the  Seine  from 
Rouen ; in  the  splendid  window  in  the  North  tran- 
sept of  Le  Mans  Cathedral;  in  the  Chapelle  Vendome 
in  Chartres  Cathedral ; in  the  Lady  Chapel  of  Evreux 
Cathedral ; in  the  cathedral  at  Amiens ; in  the 
beautiful  window  in  the  chapel  of  Jacques  Cceur 
in  Bourges  Cathedral ; in  the  church  of  St  Severin 
in  Paris ; and  at  Angers,  Verneuil,  Quimper, 
Beaumont-le-Roger,  Nonancourt,  Bernay,  Lisieux, 
Bayeux,  St  L6,  Coutances,  Carentan,  Falaise, 
Aumale,  Pldlan,  Dinan,  Moulins,  Riom,  Clermont- 
I errand,  and  Eymoutiers.  In  Germany  at  Munich 
and  Ulm  Cathedral,  and  in  St  Lorenz  at  Nuremberg. 

At  no  period  is  the  overlapping  of  the  old  style 
and  the  new  more  marked  than  in  the  transitional 
period  about  the  reign  of  Henry  the  Seventh,  in  the 
latter  part  of  the  fifteenth  century,  and  at  the 
beginning  of  the  sixteenth,  when  the  Late  Gothic 
glass  ends  and  the  style  of  the  Renaissance  begins. 
At  this  time  three  distinct  classes  of  window  glass 


LATE  GOTHIC— 15th  CENTURY  47 


pictures  may  be  observed : first,  those  which  antici- 
pate the  Renaissance,  like  the  noble  windows  of  the 
Duomo  at  Florence ; secondly,  those  which  are 
genuinely  transitional,  like  the  eighteen  windows  of 
1507-1513  by  Arnaut  de  Moles  in  the  choir  and 
chapels  of  the  cathedral  of  Auch  forty  miles  west 
of  Toulouse,  and  the  three  lovely  windows  in  the 
east  wall  of  Moulins  Cathedral,  and  the  windows 
in  the  Lady  Chapel  of  Evreux ; thirdly,  there  are 
retarded  windows  of  Late  Gothic  style  in  the  early 
part  of  the  sixteenth  century,  of  which  the  most 
striking  example  is  to  be  found  in  the  twenty-eight 
famous  windows  of  Fairford  in  Gloucestershire. 


Note  on  the  Glass  in  Beauchamp  Chapel, 
Warwick. 

Dugdale  in  the  ‘ Antiquities  of  Warwickshire,’  1st 
edition,  page  355,  gives  the  following  statement  of 
the  agreement  between  the  executors  of  Richard 
Beauchamp,  Earl  of  Warwick,  and  the  glazier 
who  was  to  glaze  the  windows  of  the  Beauchamp 
Chapel : — 

“John  Prudde  of  Westminster  glasier  23  Junii 
25  H.6  ( i.e . in  1447)  covenanteth  to  glase  all  the 
windows  in  the  new  Chapell  of  Warwick  with  glass 
beyond  the  seas,  and  with  no  glasse  of  England  ; 
and  that  in  the  finest  wise  with  the  best  cleanest 
and  strongest  Glasse  of  beyond  the  sea  that  may 


48 


STORIED  WINDOWS 


be  had  in  England,  and  of  the  finest  colours  of  Blew, 
Yellow,  Red,  Purpure,  Sanguine  and  Violet,  and  of 
all  other  colours  that  shall  be  most  necessary  and 
best  to  make  rich  and  embellish  the  matters  Images 
and  stories  that  shall  be  delivered  and  appointed  by 
the  said  executors,  by  patterns  in  paper,  afterwards 
to  be  newly  traced  and  pictured  by  another  Painter 
in  rich  colour  at  the  charges  of  the  said  Glasier  : All 
which  proportions  the  said  John  Prudde  must  make 
perfectly  to  fine,  glase,  eneylin  it,  and  finely  and 
strongly  set  it  in  lead  and  souder,  as  well  as  any 
Glasse  is  in  England ; of  white  Glasse,  green  Glasse, 
black  Glasse,  he  shall  put  in  as  little  as  shall  be 
needful  for  the  showing  and  setting  forth  of  the 
matters  Images  and  storyes.  And  the  said  Glasier 
shall  take  charge  of  the  same  Glasse  wrought  and  to 
be  brought  to  Warwick,  and  set  up  there  in  the 
Windows  of  the  said  chapell ; the  executors  paying 
to  the  said  Glasier  for  every  foot  of  Glasse  iis.  ( i.e ., 
two  shillings),  and  so  for  the  whole  xci  li.  is.  xd.” 
(i.e.,  £91,  Is.  10d.). 

The  value  of  this  money  may  be  computed  from 
the  price  paid  for  an  ox  at  that  time,  13s.  4d.,  and  a 
quarter  of  corn,  3s.  4d. 

The  word  “ eneylin  ” in  the  above  extract  is  prob- 
ably used  in  the  sense  of  “ anneal,”  just  as  in 
the  Promptorium  Parvulorum  of  1440  the  word 
‘enelyn”  means  to  anneal  in  the  phrase  “enelyn 
metalle  or  the  lyke.” 

1 he  date  of  this  covenant,  1447,  proves  that  the 
glass  in  Beauchamp  Chapel  was  made  in  the  middle 


LATE  GOTHIC— 15th  CENTURY  49 


of  the  fifteenth  century,  and  as  flashed  blue  glass  is 
used  here,  it  shows  that  the  process  of  flashing  blue 
as  well  as  ruby  was  discovered  by  this  time. 

Two  shillings  a foot  sounds  a low  price  for  making 
a window,  but  it  would  take  a whole  herd  of  oxen  at 
13s.  4d.  each  to  pay  for  a large  window  at  the  rate 
of  one  ox  for  every  6 feet  8 inches  at  2s.  a foot. 

The  prohibition  of  the  use  of  English  glass  in  this 
covenant  is  one  of  the  many  proofs  of  a close  con- 
nection between  old  English  church  windows  and 
glaziers  of  beyond  the  seas,  especially  of  France. 

If  the  objection  to  glass  of  England  be  due  to 
its  inferior  quality,  it  must  have  greatly  improved 
in  the  next  forty  years,  for  Westlake  says  that  in 
1485  we  find  Dutch  glass  one  penny  a foot,  Venice 
glass  fourpence,  Normandy  fivepence,  and  English 
sixpence. 

Patterns  in  paper  appear  to  have  been  used  on 
this  occasion  for  the  first  time,  but  it  is  not  clear 
whether  they  were  full-sized  drawings  as  large  as 
the  window  itself,  such  as  had  been  made  hitherto 
on  whitewashed  boards,  or  merely  small  sketches  on 
paper. 


D 


50 


CHAPTER  X. 

RENAISSANCE  GLASS,  1500-1550. 

The  finest  period  of  Renaissance  glass  pictures  is  in 
the  time  of  Henry  the  Eighth  and  of  Edward  the 
Sixth  in  England,  and  of  Fran£ois  Premier  and 
Henri  Deux  in  France,  during  the  first  half  of  the 
sixteenth  century.  During  this  period  the  most 
refined  and  beautiful  of  all  glass  pictures  were 
produced,  but  they  were  essentially  pictorial  in 
style ; in  fact,  the  pictures  are  so  beautiful  that 
they  cause  an  almost  complete  forgetfulness  of  the 
material  of  which  they  arc  made.  Yet  the  Gothic 
glazier,  with  his  mosaic  of  gorgeously-coloured  glass, 
did  influence  and  restrain  the  Renaissance  painter, 
who  in  his  turn  added  beauty  to  the  Gothic  glass 
pictures  by  the  exquisite  drawing  of  the  faces,  the 
high  relief,  and  the  atmospheric  effect. 

On  this  point  Winston,  in  ‘ Hints  on  Glass  Paint- 
ing,' page  189,  says  : “ The  relief  is  most  remarkable 
when  the  picture  is  represented  as  seen  beneath 
an  archway.  The  front  face  of  the  arch  forms  a 
mass  of  strong  light,  and  is  thus  brought  pro- 
minently forward,  while  the  inside  of  the  archway 


't'lor  tout 


fcscnrorbiruv  u loiut rthuuntt |o?  in nri>rf(r 

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SAINTE  MADELEINE,  TROYES. 


On  left,  St  Eloi  ip  giving  alms.  On  right,  the 
St  Eloi  to  secome  their  Bishop.  Fin 

1 ll] 

See  p.  272. 

) 


PEOPLE  OF  NOYON  ASK  THE  GOLDSMITH 

e early  Renaissance.  1506. 


RENAISSANCE  GLASS,  1500-1550  51 


is  kept  in  deep  shadow.  The  group  of  figures 
standing  just  within  the  threshold  of  the  archway 
is  very  prominent,  owing  to  the  vivid  colouring 
and  strong  lights  and  shadows.  Above  the  archway 
is  a light  grey  blue  sky  on  which  a small  distant 
landscape  is  delicately  painted.  The  sky  by  its  tint 
forms  a background  which  throws  forward  the 
darkly-shaded  archway  and  the  group,  thus  pro- 
ducing the  greatest  effect  of  atmosphere  possible  in 
glass  painting.” 

In  the  glass  pictures  of  the  Renaissance  period, 
the  architectural  crocketed  canopy  of  the  late  Gothic 
style  becomes  a frame  of  golden  arabesques  of  a 
remarkably  beautiful  hue,  being  generally  of  a clear 
gold,  and  very  rarely  of  the  lemon  colour  which  is 
found  in  the  silver  stain  in  earlier  time.  This  frame 
usually  has  festoons  across  the  top  of  the  semi- 
circular arch  in  the  picture.  The  picture  stands 
away  from  the  frame,  and  seems  to  be  seen  through 
the  window,  instead  of  forming  a part  of  the  wall. 
The  nimbus  or  halo  is  no  longer  a mere  disc  of 
colour,  but  is  represented  in  perspective.  Little 
naked  amorini,  or  cupids,  are  of  common  occurrence 
in  Renaissance  glass.  Enamel  paint  was  now  used 
for  the  first  time  to  produce  colour  and  not  merely 
to  stop  out  light.  The  only  enamel  paint  used  for 
this  purpose  by  the  Renaissance  painter,  in  the 
earlier  part  of  the  sixteenth  century,  was  a red 
tint  to  colour  the  faces  and  hands  and  nude  por- 
tions of  the  figures. 

In  England  very  little  fine  Renaissance  glass  was 
ever  produced,  because  men’s  thoughts  were  diverted 


52 


STORIED  WINDOWS 


by  the  Reformation.  The  finest  Renaissance  windows 
in  England  are  the  twenty-three  in  Kings  College 
Chapel  at  Cambridge,  which  were  contracted  for  in 
1527  at  the  rate  per  foot  of  eighteenpence  for  the 
glass  and  twopence  for  the  lead.  At  Oxford,  there 
is  Renaissance  glass  of  1529  in  Balliol  College  Chapel. 
Also  at  Basingstoke,  in  the  Parish  Church  and  in 
the  chapel  of  the  Vyne,  and  St  Neot  in  Cornwall, 
and  Middleton  in  Lancashire. 

But  most  of  the  fine  Renaissance  glass  in  England 
is  of  foreign  origin.  The  seven  eastern  windows  of 
the  Lady  Chapel  in  Lichfield  Cathedral  contain 
beautiful  Flemish  glass,  brought  from  the  ruined 
abbey  of  Herkenrode.  Winston  says  that  these  are 
the  most  effective  specimens  of  the  art  of  glass 
painting  and  the  most  worthy  of  study,  being  even 
finer  than  those  in  St  Jacques,  Likge.  In  St  Marys, 
Shrewsbury,  there  are  many  windows  of  foreign 
glass  collected  from  Flemish  and  German  sources. 
Flemish  glass  is  also  to  be  seen  in  the  East  window 
of  St  George’s,  Hanover  Square,  in  the  chapel  of 
Wadham  in  Oxford,  and  in  the  church  of  Ashtead  in 
Surrey,  and  St  Michael’s,  York.  In  the  oriel  window 
of  the  hall  of  Trinity  College  in  Oxford  there  is 
Swiss  glass  of  Renaissance  style  from  a church  at 
Bale.  The  glass  in  the  chapel  of  Gatton  Hall  in 
Surrey  is  considered  to  be  of  French  origin,  and  so 
are  the  four  lower  east  windows  of  Southwell. 

But  the  east  window  at  St  Margaret’s,  West- 
minster, has  the  most  interesting  history  of  all. 
I he  window  is  said  to  have  been  ordered  in  1499 
and  finished  at  Dort  in  Holland  in  1504,  as  a 


RENAISSANCE  GLASS,  1500-1550  53 


present  from  Isabella  the  Catholic  to  Henry  VII. 
in  honour  of  her  daughter’s  marriage.  Owing  to 
the  death  of  Prince  Arthur  in  1502,  before  the 
window  was  completed,  it  was  not  erected  in  the 
Lady  Chapel  of  Westminster  Abbey,  but  presented 
to  the  abbey  of  Waltham.  At  the  dissolution  of 
this  monastery,  in  1540,  the  Abbot  moved  the 
window  to  his  private  chapel  at  New  Hall,  in  Essex. 
In  the  next  century  it  became  the  property  of 
General  Monk,  who  buried  the  window  in  chests 
to  save  it  from  the  Puritans.  Finally,  in  1759, 
Parliament  granted  £4500  for  the  repair  of  St 
Margaret’s,  Westminster,  on  the  ground  that  it 
was  the  parish  church  of  the  House  of  Commons ; 
out  of  this  grant  the  window  was  bought  for  £420 
by  the  churchwardens.  Winston  says  of  this  win- 
dow that  it  is  impossible  to  refer  to  a better 
specimen  of  glass  painting.  But  Day  expresses 
the  opinion  that  it  has  not  the  charm  of  the  period 
and  must  not  be  taken  to  represent  it  fairly. 
Certainly  the  large  proportion  of  blue  glass  makes 
the  whole  window  much  colder  than,  for  instance, 
the  beautiful  window  in  the  south  transept  of 
Sens  Cathedral  of  about  the  same  date.  Since  this 
is  the  finest  window  in  any  church  in  London,  it 
merits  a detailed  description.  In  the  centre  is  the 
Crucifixion  outlined  against  a blue  sky  with  the 
addition  of  three  peculiar  details  of  Renaissance 
imagination ; for  above  the  penitent  thief  is  an 
angel  bearing  his  soul  to  heaven,  while  a fiend  is 
carrying  off  the  soul  of  the  other ; and  the  Saviour’s 
blood  is  flowing  into  chalices  held  by  three  angels, 


54 


STORIED  WINDOWS 


as  in  Malvern  Priory  and  in  the  East  windows  of 
St  Martin’s,  Windermere,  Haddon  Hall  Chapel  in 
Derbyshire,  and  Moulins  Cathedral,  and  in  Mr 
Pierpont  Morgan’s  early  Renaissance  window,  now 
in  the  Victoria  and  Albert  Museum.  The  central 
subject  is  completely  framed  by  beautiful  pictures 
of  brilliant  colour.  On  the  left  is  said  to  be  the 
only  known  portrait  of  Prince  Arthur  (but  there 
is  a portrait  of  him  in  Malvern  Priory) ; above 
him  is  “St  George  of  Merrie  England  the  signe 
of  Victoree,”  and  at  the  top  is  the  Tudor  Rose. 
On  the  right  is  a figure  of  Katherine  of  Aragon, 
whose  head  unfortunately  is  modern  (but  there  is 
an  original  portrait  of  her  in  the  chapel  of  the 
Vyne  at  Basingstoke) ; above  her  is  her  patron 
Saint  Katherine,  and  at  the  top  is  the  pomegranate 
of  Granada.  Between  these  portraits  are  two  groups 
of  Roman  soldiers  with  the  holy  women  in  the 
centre.  The  pictorial  framework  is  completed  at 
the  top  by  representations  of  the  sun  and  moon, 
between  which  are  six  angels  holding  the  crown  of 
thorns  and  other  tokens  of  the  Passion.  Really  to 
appreciate  this  magnificent  window  it  is  needful  to 
examine  it  thoroughly  with  a field-glass. 

In  France  there  is  abundance  of  lovely  glass  of 
the  first  half  of  the  sixteenth  century,  in  St  Etienne 
at  Beauvais,  in  St  Vincent  and  St  Patrice  at  Rouen, 
in  St  Etienne  at  Elbeuf,  in  Ste  Foy  at  Conches ; 
in  St  Acceul  at  Ecouen  and  St  Martin  at  Mont- 
morency, and  in  the  chapel  at  Vincennes,  all  three 
within  a few  miles  of  Paris;  in  St  Gervais,  St 
Etienne  du  Mont,  St  Merri,  and  St  Germain 


RENAISSANCE  GLASS,  1500-1550  55 


l’Auxerrois  inside  Paris ; at  Grand  Andely  and 
Pont  Audemer;  in  St  Nizier,  St  Jean,  and  Ste 
Madeleine,  and  the  cathedral  at  Troyes ; in  the 
Chapelle  des  Tullier  and  in  St  Bonnet  at  Bourges ; 
in  the  transepts  at  Sens ; in  the  chapel  at  Chan- 
tilly; at  Champigny-sur-Veude  near  Chinon  in 
Touraine;  at  Montfort  l’Amaury,  Pontoise,  Andresy, 
Ferrieres  (Loiret),  Gannat,  St  Florentin,  St  Julien 
du  Sault,  St  Saulge,  Clamecy,  Ervy,  Montfoy, 
Chaource,  Mussy-sur-Seine,  Bar-sur-Seine,  Rumilly 
les  Vaudes,  Chavanges,  Dosnon,  Poivres,  Lhuitre, 
Arcis-sur-Aube,  Yillemoiron,  Verrikres  (Aube),  Mon- 
tier-en-Der ; and  in  Normandy,  at  Gisors,  Aumale, 
Monville,  Yalmont,  Fecamp,  Yocht,  Villequier,  Cau- 
debec,  Pont  l’Eveque,  Bourgtheroulde,  Pont  de 
T Arche,  Verneuil,  and  Nonancourt ; and  in  the 
splendid  Burgundian  Church  of  Notre  Dame  de 
Brou  outside  Bourg-en-Bresse.  The  most  important 
localities  are  given  in  this  list,  but  glass  of  the 
sixteenth  century  is  also  to  be  found  in  many  other 
places.  For  instance,  between  Paris  and  Chantilly 
there  is  good  glass  of  the  sixteenth  century  at 
Mesnil-Aubry,  Ezanville,  Groslay,  Herblay,  St  Fir- 
min,  and  Damville.  Again,  in  the  neighbourhood 
of  Troyes,  at  Davrey,  Pavilion,  Noes,  Torvilliers, 
St  Germain,  St  Leger,  St  Pouange,  St  Parres-les- 
Tertres,  Pont  Ste  Marie,  Creney,  Rouilly  St  Loup, 
Rouilly  Sacey,  Montieramey,  Montreuil,  Geraudot, 
Magnant,  Thieffrain,  Longpre,  Yendeuvre,  Bran- 
tigny,  Montagnon,  Brienne  la  Vieille,  Brienne  le 
Chateau,  Aulnay,  Rosnay,  and  Valentigny ; for 
other  places  see  chapter  xxxix. 


56 


STORIED  WINDOWS 


For  the  sixteenth-century  glass  in  Brittany  see 
after  page  61.  If  it  were  necessary  to  select  the 
dozen  finest  centres  of  French  Renaissance  glass 
of  the  sixteenth  century,  these  would  be : Rouen, 
Beauvais,  Conches,  Grand  Andely,  Pont  Audemer, 
Champigny-sur-Veude,  Vincennes,  Ecouen,  Mont- 
morency, Troyes,  Bourg-en-Bresse,  and  Auch. 

The  Flemish  Renaissance  glass  is  remarkably  fine 
in  the  cathedral  at  Libge  and  in  the  churches  of  St 
Jacques  and  St  Martin.  Also  in  the  Cathedral  of 
St  Gudule  at  Brussels,  in  the  two  grand  windows  by 
Van  Orley  in  the  transepts,  and  in  the  west  window 
and  the  clerestory  of  the  choir,  and  in  the  four  large 
windows  in  the  Chapel  of  the  Miraculous  Sacrament. 

The  highest  perfection  attained  in  glass  pictures 
can  be  seen  in  Italy,  at  Arezzo,  in  several  churches 
and  in  the  Duomo,  which  contain  the  marvellous 
windows  of  the  greatest  Cinque  Cento  artist  in 
glass,  the  famous  Dominican  Frere  Guillaume  de 
Marseille,  or,  as  the  Berrichons  stoutly  maintain, 
de  Marcillat,  who  died  in  1537.  One  of  the  windows 
made  in  Italy  by  William  of  Marseilles,  as  he  is 
usually  called  by  English  writers,  can  be  seen  in  the 
Victoria  and  Albert  Museum  at  South  Kensington. 
This  window,  the  subject  of  which  is  the  Adoration 
of  the  Magi,  comes  from  the  cathedral  at  Cortona. 

The  reason  why  the  windows  of  William  of 
Marseilles  or  Guillaume  de  Marcillat  may  be  re- 
garded from  the  pictorial  point  of  view  as  the 
finest  glass  pictures  ever  produced  is  that,  although 
they  display  the  lively  imagination,  the  artistic 
grouping,  the  beautiful  drawing,  the  brilliant  and 


RENAISSANCE  GLASS,  1500-1550  57 


harmonious  colouring,  the  graceful  detail,  the  lovely 
effect  of  light  and  shade,  the  high  relief,  the  atmos- 
phere, and  the  perspective,  which  are  characteristic 
of  the  best  Renaissance  work,  yet  they  do  not  de- 
part from  the  true  principle  of  the  glass  picture. 
The  artist  never  forgets  that  he  is  working  in 
glass,  and  therefore  his  pictures  depend  for  all 
their  splendid  colour  effect,  except  the  flesh  tint, 
upon  pot-metal,  flashed  glass,  and  silver  stain,  and 
so  their  transparency  is  not  dimmed  nor  their 
lasting  quality  impaired  by  the  misuse  of  fleeting 
enamel  paints.  Great  as  are  the  works  of  the 
illustrious  Renaissance  glass  painters,  Jean  Cousin, 
Robert  Pinaigrier,  Engrand  Le  Prince,  Arnaut  de 
Moles,  Lyenin,  Verrat,  Macadre  and  Van  Orley, 
this  consummate  artist  seems  to  overtop  them  all. 
Beautiful  pictures  in  Cinque  Cento  glass  are  also 
to  be  seen  at  Florence  in  the  church  of  Santa  Maria 
Novella  (which  also  contains  fourteenth-century 
glass  in  the  Strozzi  chapel,  and  late  fifteenth-century 
glass  in  the  fine  East  window) ; also  in  the  Duomo 
at  Milan,  the  church  of  St  Petronio  at  Bologna,  and 
in  the  west  window  of  the  Duomo  at  Sienna,  and  in 
the  choir  of  Santa  Maria  del  Popolo  at  Rome. 

In  Germany  there  is  magnificent  glass  of  the 
sixteenth  century  in  the  north  aisle  of  the  Dom 
at  Cologne  and  in  the  church  of  St  Peter.  Also 
in  the  chapels  and  clerestory  of  Freiburg  Minster, 
and  in  St  Sebald’s  at  Nuremburg. 

In  Spain  there  is  Renaissance  glass  in  the  aisle 
windows  of  the  cathedral  at  Toledo  and  in  the 
cathedrals  of  Seville  and  Granada. 


58 


CHAPTER  XI. 

LATER  RENAISSANCE  GLASS. 

In  Elizabethan  time,  in  the  second  half  of  the  six- 
teenth century,  there  was  a sudden  and  rapid  decline 
in  the  art  of  making  glass  pictures.  This  was  due 
partly  to  the  unfortunate  discovery  at  this  time  of 
soft  enamel  paints  of  many  colours,  and  partly  to 
the  mechanical  improvements  in  the  manufacture 
of  the  glass,  which  resulted  in  a dull  uniform 
perfection.  A third  reason  for  this  decadence  was 
the  change  in  the  ideal  of  the  glass  painter  owing 
to  his  increased  skill  in  drawing  his  pictures.  It 
can  be  no  matter  of  surprise  that  the  ideal  of  the 
glass  painter  should  have  ceased  to  be  that  of 
making  a brilliantly-coloured  picture  out  of  glass, 
and  that  he  should  have  earnestly  desired  to  paint 
a picture  on  the  glass  as  like  an  oil-painting  as 
possible.  For,  in  the  first  half  of  the  sixteenth 
century,  the  imagination  of  the  glass  painter  must 
naturally  have  been  stimulated  by  the  wonderful 
paintings  of  the  great  company  of  the  grandest 
artists  who  were  at  work  at  that  time.  It  would 
not  be  difficult  to  draw  out  a list  of  at  least  two 
hundred  artists  of  note  between  1500  and  1550,  but 


LATER  RENAISSANCE  GLASS  59 


mentioning  only  a few  of  the  very  greatest  of  all, 
the  list  would  include  such  famous  names  as  Titian, 
Raphael,  Botticelli,  Leonardo  da  Vinci,  Michel- 
angelo, Correggio,  Holbein,  and  Albrecht  Diirer. 

The  unlucky  invention  of  soft  enamel  paints  of 
many  colours  in  the  second  half  of  the  sixteenth 
century  naturally  tempted  the  glass  painter  to  try 
to  realise  his  ideal  of  an  oil-painting  by  using  the 
enamel  paints  to  paint  his  picture  on  the  glass. 
But  the  results  were  most  deplorable.  For,  unlike 
the  old  hard  brown  enamel  paint  of  the  earlier 
period,  the  soft  enamel  paints  of  the  late  Renais- 
sance time  became  fused  at  a much  lower  tempera- 
ture than  the  glass,  and  therefore  they  did  not 
become  incorporated  with  the  glass,  but  merely 
adhered  to  the  surface,  and  in  summer  heat  and 
winter  cold  they  did  not  expand  and  contract 
equally  with  the  harder  and  more  solid  glass  under- 
neath : in  fact,  their  coefficients  of  expansion  may 
differ  by  as  much  as  one-sixtieth.  Consequently 
they  were  liable  to  crack  and  flake  off,  exposing 
the  white  surface  underneath  and  ruining  the 
picture.  But  a still  worse  result  was  that  they 
marred  the  beautiful  transparency,  which  is  the 
essential  distinction  of  Gothic  glass,  because  the 
glass  was  dimmed  with  opaque  shadows,  owing  to 
the  enamel  paint  on  the  surface. 

The  improvements  in  the  manufacture  also  helped 
to  spoil  the  window.  The  earlier  Gothic  glass  was 
chemically  impure  and  mechanically  imperfect.  The 
greenish  - white  glass  was  full  of  bubbles.  The 
flashed  ruby  glass  was"  extremely  streaky  in  colour. 


60 


STOKIED  WINDOWS 


The  coloured  pot-metal  was  uneven  in  surface,  and 
varied  greatly  in  the  thickness  of  different  parts 
of  the  same  piece  of  glass,  thus  causing  divers 
shades  of  colour  in  the  thick  and  thin  parts.  The 
pieces  of  glass  were  small,  and  each  little  piece  of 
the  same  colour  generally  differed  slightly  in  shade 
from  any  other  piece,  owing  to  the  impurity  of  the 
ores  employed  to  produce  the  colour.  All  these 
imperfections  tended  to  cause  great  vivacity,  bril- 
liancy, and  variety  in  the  coloured  light  which  came 
through  the  glass.  Whereas  the  later  glass  was 
made  in  larger  pieces.  The  white  glass  lost  its 
bubbles  and  its  greenish  tinge.  The  ruby  glass 
lost  its  streakiness.  The  surface  became  smooth 
and  even,  and  each  piece  of  glass  was  of  the  same 
thickness  throughout.  The  colour  of  the  pot-metal 
became  uniform,  and  so  the  glass  had  no  variety, 
and  was  faultily  faultless. 

Three  mechanical  changes  in  manufacture  con- 
tributed to  the  deterioration  of  the  windows  in 
the  seventeenth  century.  The  lead  being  drawn 
instead  of  being  planed  out  of  the  solid  became 
thinner  and  more  flexible,  and  therefore  less  able 
to  resist  the  force  of  the  wind ; the  power  of  re- 
sistance was  further  diminished  when  the  edges  of 
the  thin  glass  were  cut  smooth  by  the  diamond, 
and  so  the  glass  was  less  tightly  held  than  the 
ancient  glass  of  more  than  twice  the  thickness  with 
edges  serrated  by  the  grozing  iron ; the  thin  glass 
was  cut  into  panes  of  equal  size  and  leaded  together 
in  regular  squares  so  that  the  picture  was  no  longer 
assisted  by  the  lines  of  the  lead. 


LATER  RENAISSANCE  GLASS  61 


At  first  some  great  artists  overcame  the  difficulty 
of  painting  fine  glass  pictures  in  the  later  period. 
The  windows  in  the  Groute  Kirk  at  Gouda  in 
Holland,  by  Dirk  Crabeth  and  his  brother  Walter, 
are  the  finest  specimens  of  late  Renaissance  enamel- 
painted  glass  of  Elizabethan  time.  The  windows 
of  Linard  Gontier,  made  in  the  early  part  of  the 
seventeenth  century,  some  of  which  are  in  the 
church  of  St  Martin-es-Vignes  at  Troyes,  may  be 
regarded  as  the  swan-song  of  the  fine  glass  of 
the  Renaissance ; there  is  also  good  glass  of  the 
seventeenth  century  in  the  choir  clerestory  of  St 
Eustache,  Paris,  and  in  the  Lady  Chapel  of  St 
Gudule,  Brussels.  The  finest  glass  of  the  early 
part  of  the  seventeenth  century  in  England  is 
to  be  found  in  Oxford,  in  the  nine  windows  of 
Lincoln  College  Chapel  of  about  1630,  the  east 
window  of  Wadham  Chapel  of  1622  by  Bernard 
van  Linge,  and  the  eight  windows  completed  in 
1641  by  Abraham  van  Linge  in  the  chapel  of 
University  College. 

After  this,  in  the  seventeenth  and  eighteenth 
centuries,  a period  set  in  of  complete  decadence  of 
glass  pictures,  when  translucence  was  sacrificed  to 
painting,  and  the  picture  became  more  obvious  than 
the  glass.  But  in  the  nineteenth  century,  greatly 
owing  to  Winston,  successful  efforts  have  been  made 
to  reproduce  glass  with  the  same  imperfections  as 
the  Gothic  glass,  and  to  return  to  the  methods  of 
the  mediaeval  glazier. 


The  two  maps  contain  most  of  the  important  centres  in  France 
where  fine  old  church  glass  can  be  found,  and  also  the  Channel 
ports  of  Dieppe,  Havre,  Cherbourg,  and  St  Malo. 

Brittany  is  omitted,  as  containing  little  glass  anterior  to  its 
union  with  the  Crown  of  France  by  the  marriage  of  the  Duchesse 
Anne  de  Bretagne  with  King  Charles  VIII.  in  1491. 

At  Quimper  in  Brittany  there  is  fine  glass  of  the  fifteenth 
century,  and  glass  of  the  same  period  is  to  be  found  at  Plelan, 
Pluduno,  and  Dinan,  and  fourteenth-century  glass  at  Dol  with 
one  thirteenth-century  window. 

There  is  a good  deal  of  glass  of  the  sixteenth  century  in 
Brittany.  The  most  remarkable  centres  are  Moncontour,  Ker- 
goat,  Ploermel,  Iffs,  and  Guerande.  But  genuine  specimens 
of  sixteenth-century  glass  can  also  be  found  at  Plelan  and 
Penmarch,  and  at  the  smaller  places,  Comfort,  Cran,  Edern, 
Faouet,  Kerfeuntun,  Langonnet,  Plogonnec,  Pluduno,  St  Hervd, 
and  Stival. 

Five  glass  centres  in  the  extreme  south-west  of  France,  at 
Auch,  Toulouse,  Carcassonne,  Narbonne,  and  Beziers  are  also 
omitted. 


GLASS  CENTRES 

West  or  the  hne  Amiens  — Paris— Bourses 


O Amiens  oSt.Quentir, 


oLaon 


Soissons  O 
S.Firmino 

oChantilly 
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nMnnt.morency. 


6 Reims 


49 


oStDenis 
Q oVincennes 

PARIS 


Sens  O 


Orbais 

O 


QChalons  -sur- Marne 


Arcis-sur-Aube 

oChavanyes 


O 

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TroyesO  oMontier-en-Der 

oTprvjJljers'7'7^ 

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fyo  

S.  Julien  du  Sault  O grvyo  Chaourcc  qM ussy -sur- Seine 
oS.FJgrentm 

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oCIamecy 

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oSemur 


oMou/ins 


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oAutun 


Bourg-en-B  resse  O 


46 


oRiom 
oClermont  Ferr 


QLyon 


and 

4 


GLASS  CENTRES 

bast  of  the  line  Amiens- Paris— Bourses. 


63 


CHAPTER  XII. 

GLASS-HUNTING  IN  NORMANDY  AND  MAINE,  BEGINNING 
WITH  ROUEN  CATHEDRAL  AND  ST  OUEN. 

The  easiest  way  to  utilise  the  information  derived 
from  the  preceding  chapters  and  to  lay  the  founda- 
tion of  a satisfactory  knowledge  of  old  glass  is  to 
begin  by  visiting  Normandy  and  Maine ; because 
the  happiest  hunting  - ground  for  Gothic  Glass  is 
included  in  the  triangle  of  which  the  Cathedral 
towns  of  Rouen,  Le  Mans,  and  Chartres  form  the 
corners.  The  whole  of  this  triangle  is  situated  in 
Normandy  and  Maine,  with  the  exception  of  Chartres 
itself.  Within  this  small  compass  are  to  be  found 
the  very  finest  specimens  of  Gothic  Glass  of  the 
twelfth,  thirteenth,  and  fourteenth  centuries,  very 
good  specimens  of  the  fifteenth  century,  and  un- 
surpassed if  not  unequalled  French  glass  of  the 
Renaissance  period  of  the  sixteenth  century.  Much 
of  this  glass  can  be  dated  with  certainty,  as  the 
names  and  dates  of  the  donors  are  known  and  in 
many  cases  are  inscribed  on  the  windows. 

In  Rouen  the  thrifty  traveller  will  be  glad  to 
know  of  the  comfortable,  old-fashioned,  and  mode- 
rate Hotel  de  Normandie,  in  the  Rue  de  Bee,  where 


64 


STORIED  WINDOWS 


the  comely  and  obliging  daughters  of  the  landlord 
speak  English. 

At  Rouen  it  is  the  wisest  plan  to  begin  with  the 
Cathedral,  because  it  contains  the  oldest  glass. 
There  the  eye  is  at  once  attracted  by  the  magnifi- 
cent tall  windows  of  the  thirteenth  century.  Four 
of  these  are  conspicuous  in  the  ambulatory  at  the 
back  of  the  choir.  The  first  of  these  on  the  left 
contains  the  story  of  St  Julian,  the  patron  saint  of 
Hospitality,  whom  Chaucer  mentions  in  the  descrip- 
tion of  the  Frankeleyn  in  the  Prologue  of  the 
Canterbury  Tales.  The  other  three  are  of  the  kind 
described  as  Biblia  Pauperum , Bibles  of  the  poor — 
that  is,  windows  to  teach  Scripture  history  by  means 
of  illustration  to  those  who  could  not  read,  or  who 
were  too  poor  to  buy  costly  manuscript  books.  The 
first  two  of  these  three  Biblia  Pauperum  windows 
contain  the  story  of  Joseph  and  his  brethren.  The 
top  of  the  first  window  begins  with  the  dream  of 
Joseph  in  Genesis  xxxvii.  9,  that  the  sun,  moon,  and 
stars  did  obeisance  to  him.  The  eight  medallions 
below  this  continue  the  story  of  Joseph  till  the  end 
of  the  same  chapter,  when  the  Midianites  sold 
Joseph  to  Potiphar  in  Egypt.  The  last  three 
medallions  contain  the  story  of  Potiphars  wife 
and  the  consequent  imprisonment  of  Joseph,  from 
Genesis  xxxix.  12-20.  At  the  foot  of  the  lowest 
medallion  is  the  signature  of  Clemens  Vitrearius 
Carnutensis — i.e.,  Clement  the  verrier  or  glazier  of 
Chartres.  This  is  the  only  signature  known  of  a 
glass  artist  of  the  thirteenth  century.  The  next 
window  completes  the  story  of  Joseph.  To  the 


ROUEN  CATHEDRAL 


65 


right  of  this,  in  the  fourth  of  these  splendid  thir- 
teenth-century windows  is  contained  the  Passion 
of  Jesus  Christ.  There  are  several  other  windows 
of  the  thirteenth  century  in  Rouen  Cathedral,  of 
which  some  are  incomplete,  having  the  lower  part 
filled  up  with  later  glass.  In  the  chapel  next  south 
of  the  Lady  Chapel  at  the  east  end  of  the  cathedral, 
is  a thirteenth-century  window,  so  clean  and  fresh- 
looking that  at  first  sight  it  seems  almost  new,  hut 
a glance  at  the  outside  patina  shows  that  it  is 
genuinely  old. 

In  the  Lady  Chapel  of  Rouen  Cathedral  are  four 
excellent  windows  of  the  fourteenth  century  between 
1330  and  1340,  with  the  usual  narrow  coloured 
border  and  white  line  next  to  the  stone.  In  the 
centre  part  of  each  light  are  fine  single  figures  of 
bishops  very  varied  in  pose  with  coloured  canopies 
filling  half  of  the  window,  on  ruby  and  sapphire 
grounds.  The  other  half  of  these  windows  is  filled 
with  quarries  divided  by  coloured  lines  occupying 
one-third  of  the  window  at  the  base  and  one-sixth 
at  the  top ; the  first  figure  on  the  north  side,  that 
of  Bishop  Marcellus,  is  particularly  good.  Along 
the  north  side  of  the  aisle  are  fifteenth-century 
figures  on  grisaille,  with  the  exception  of  two 
windows,  of  which  the  upper  part  is  partially  filled 
with  glass  of  the  thirteenth  century.  The  three  east 
windows  in  the  clerestory  of  Rouen  Cathedral  con- 
tain a fourteenth-century  picture  of  the  Crucifixion 
with  a figure  of  the  Virgin  on  one  side  and  St  John 
on  the  other ; the  arms  of  our  Lord  are  extended 


E 


66 


STORIED  WINDOWS 


into  the  lateral  lights,  which  is  a rare  anticipation 
of  the  style  of  the  following  century. 

The  western  rose  is  an  unusually  fine  example 
of  fifteenth-century  work,  remarkable  for  its  gor- 
geous colour,  as  compared  with  the  white  which 
predominates  in  English  windows  of  the  fifteenth 
century. 

Beautiful  and  ancient  and  genuine  as  the  glass 
in  Rouen  Cathedral  undoubtedly  is,  it  does  not 
beautify  the  inside  of  the  cathedral  nearly  so  much 
as  might  have  been  expected,  because  the  whole  is 
dulled  by  the  absence  of  coloured  figures  in  the 
clerestory,  both  sides  of  which  are  completely  glazed 
with  grisaille  or  with  plain  quarries  with  coloured 
centres.  Another  reason  for  the  lack  of  impressive- 
ness is  that  the  fine  glass  is  so  scattered,  and  so 
little  of  it  is  visible  at  any  point,  that  it  produces 
comparatively  little  effect  on  the  eye  of  the 
beholder. 

Far  otherwise  is  the  case  in  the  church  of  St 
Ouen  at  Rouen,  which  is  perhaps  the  most  beautiful 
of  all  churches.  St  Ouen,  to  whom  the  church  is 
dedicated,  was  the  chancellor  of  the  popular  and 
powerful  Merovingian  King  Dagobert.  He  became 
Archbishop  of  Rouen  in  640,  being  consecrated  on 
the  same  day  as  his  friend  St  Eloi,  the  Bishop  of 
Noyon.  The  beauty  of  the  church  is  greatly 
caused  by  the  rapidity  with  which  it  was  built. 
For  most  of  it  was  constructed  in  the  twenty 
years  between  1318  and  1339.  Consequently  there 
is  no  incongruity  of  style  or  proportion.  The 
charming  impression  received  at  the  first  sight  of 


ROUEN:  ST  OUEN 


67 


St  Ouen  seems  to  be  due  to  the  fact  that  its  lovely 
proportions  can  be  readily  seen  and  appreciated, 
owing  to  the  absence  of  any  non-structural  ornament 
to  impede  the  view.  Another  cause  which  con- 
tributes to  produce  such  a pleasant  effect  is  the 
plenitude  of  light  afforded  by  the  triple  band  of 
windows,  which  run  right  round  the  whole  of  the 
church.  For  not  only  are  the  clerestory  and  lower 
windows  completely  glazed  with  fine  coloured  glass 
across  the  centre  of  each  window  and  bands  of  grisaille 
above  and  below,  but  the  triforium  also  is  entirely 
glazed  with  grisaille,  making  in  all  two  bands  of  colour 
and  five  bands  of  grisaille,  which  completely  encircle 
the  whole  building. 

The  windows  can  also  be  readily  examined  from 
the  outside,  because  this  noble  church  stands  in  a 
delightful  garden,  and  it  has  a very  large  open 
space  opposite  to  the  west  front. 

The  most  impressive  windows  on  first  entering 
the  church  of  St  Ouen  are  in  the  clerestory ; they 
are  so  high  up  that  they  can  only  be  satisfactorily 
examined  through  a field-glass.  In  the  clerestory 
on  the  north  side  of  the  nave,  to  the  left  of  the 
visitor  who  enters  by  the  western  door,  are  large 
windows  each  of  five  lights.  Five  of  the  figures 
in  the  central  lights  are  inscribed  jStbtlla,  and 
two  of  their  faces  are  remarkably  beautiful.  The 
other  windows  have  been  much  repaired,  and 
probably  they  also  contained  figures  of  Sibyls,  so 
as  to  complete  the  whole  ten.  In  the  middle 
ages  these  Sibyls  were  objects  of  great  interest. 
Lactantius,  who  died  in  325,  quotes  a statement 


68 


STORIED  WINDOWS 


from  Yarro,  the  Latin  Antiquarian,  who  died  b.c.  28, 
that  there  were  ten  Sibyls.  St  Augustine,  born 
thirty  years  after  the  death  of  Lactantius,  in  his 
‘De  Civitate  Dei,’  xviii.  23,  quotes  from  the 
‘ Oracula  Sibyllina,’  viii.  217-250,  some  acrostical 
lines  of  which  the  initial  letters  form  the  Greek 
words  for  “ Jesus  Christ  son  of  God  Saviour.” 
These  lines  are  echoed  in  the  Latin  hymn — 

Dies  irae,  Dies  ilia, 

Solvet  saeculum  in  favilla 
Teste  David  cum  Sibilla. 

That  day  of  wrath,  that  dreadful  day 
When  Heaven  and  Earth  shall  pass  away, 

As  David  and  the  Sibyl  say. 


These  Oracula  Sibyllina  are  in  4000  Greek  verses, 
in  14  books,  variously  dated  from  b.c.  168  to 
a.d.  267.  In  the  eighth  book  are  predictions  of  the 
chief  events  of  the  life  of  our  Lord.  In  the  windows 
of  the  cathedral  at  Auch,  not  far  from  Toulouse, 
are  a set  of  Sibyls,  each  with  a curious  symbol  of 
her  special  prophecy  about  our  Lord.  The  window 
of  the  Sibyls  at  Ervy  is  described  in  chapter 
xxxi. 

The  line  of  figures  in  the  clerestory  of  St  Ouen  is 
continued  from  the  nave,  through  the  north  tran- 
sept, into  the  clerestory  of  the  choir,  and  carried 
in  an  unbroken  line  to  the  south  side  of  the  nave. 
But  the  glass  in  the  south  clerestory  of  the  nave 
dates  from  the  fifteenth  century,  though  the  style 
of  the  fourteenth  century  is  preserved.  The  large 


ROUEN:  ST  OUEN 


69 


figures  in  the  clerestory  of  the  choir  are  of  strong 
and  beautiful  colour  of  the  fourteenth  century. 
They  represent  the  personages  of  the  Old  Testament 
proceeding  in  historical  order  to  the  east.  The 
series  continued  on  the  south  side  by  Apostles,  and 
then  Saints  connected  with  Rouen,  in  windows  all 
of  about  1340. 

In  the  north-east  window  of  the  clerestory  of  the 
choir  is  a curious  transformation.  The  two  large 
figures  are  inscribed  JBotjag  and  Usatag,  but 
Moses  and  Isaiah  masquerade  in  bright  blue  (for 
black)  Benedictine  robes.  The  two  figures  must 
have  been  destroyed,  and  the  Benedictine  Saint 
Ouen  (the  Archbishop  of  Rouen,  who  died  in  678) 
and  some  other  saint  were  put  in  more  than  a 
hundred  years  later  by  Cardinal  Estouteville  in 
1467. 

The  apsidal  chapels  of  St  Ouen  contain  the  finest 
known  series  of  fourteenth-century  figure  subjects, 
only  perhaps  rivalled  by  those  described  by  Viollet- 
le-Duc  in  the  cathedral  of  St  Nazaire  at  Carcassonne. 
There  are  two  or  more  coloured  figures  in  each  figure 
subject,  with  the  usual  fourteenth-century  arrange- 
ment of  horizontal  bands  of  grisaille  above  and  below 
the  central  band  of  colour.  The  grisaille  is  painted 
with  natural  foliage,  and  each  light  is  encircled  by  a 
coloured  border.  In  some  of  the  beautiful  grisaille 
windows  of  the  apse  chapels,  instead  of  mere  spots 
of  colour  in  the  centres,  there  is  the  uncommon 
variety  of  little  circles,  each  filled  with  a small 
head  as  in  the  Lady  Chapel  of  St  Urbain,  Troyes. 
In  the  tracery  of  the  chapels  on  the  south  side  are 


70 


STORIED  WINDOWS 


fine  heads,  instead  of  the  foliage  and  heraldic  devices 
usual  in  the  tracery  of  the  fourteenth  century. 

The  windows  in  the  Lady  Chapel  of  St  Ouen  are 
mostly  filled  with  modern  glass.  But  on  the  north 
side  is  an  admirable  window  of  the  fourteenth 
century,  the  first  to  the  left  on  entering  the  chapel. 
In  the  first  chapel  north  of  the  Lady  Chapel  are 
very  fine  fourteenth-century  canopies  of  yellow  pot- 
metal  on  a blue  background,  and  of  white  with  a 
ruby  background.  In  the  chapel  on  the  east  side  of 
the  south  transept  are  very  beautiful  figures  and 
canopies  of  the  fourteenth  century,  especially  of 
St  John  the  Baptist  and  the  Virgin  Mary. 

In  the  north  transept  of  St  Ouen  is  a splendid 
Rose  window  of  the  fourteenth  century  circa  1330, 
affording  a perfect  blaze  of  colour.  There  are 
twenty-four  figures  squeezed  in  between  the  spokes 
of  the  wheel.  All  the  upper  ones  are  self-coloured  ; 
four  are  blue,  four  ruby,  two  brownish  purple,  and 
one  golden.  In  the  lower  half  the  figures  contain 
more  white  than  colour.  In  the  south  transept  is 
another  splendid  Rose  window.  The  lower  windows 
round  the  aisles  of  the  nave  of  St  Ouen  are  mostly 
late  Gothic  of  the  early  part  of  the  sixteenth  century. 
One  of  these  is  dated  1540.  In  the  two  chapels  in 
the  east  part  of  the  south  aisle  are  beautiful  win- 
dows of  late  fifteenth-century  glass.  There  is  a fine 
window  of  the  fifteenth  century  containing  the  life 
of  St  Romain,  the  Archbishop  of  Rouen,  who  died  in 
639,  in  the  chapel  west  of  the  chapel  of  St  Peter  and 
St  Paul,  which  is  in  the  south  aisle,  next  to  the 
south  transept  of  St  Ouen. 


71 


CHAPTER  XIII. 

ROUEN  : ST  MACLOU,  ST  VINCENT,  ST  PATRICE,  MUSl^E. 

The  church  of  St  Maclou  in  Rouen  was  finished  in 
1472,  and  therefore  it  contains  glass  of  the  end  of 
the  fifteenth  century  set  in  Flamboyant  tracery. 
It  is  the  only  church  in  Normandy  where  the  curfew 
is  still  rung  every  night.  The  western  Rose  window 
of  St  Maclou  is  an  exceptionally  beautiful  specimen 
of  fifteenth-century  glass.  Westlake,  in  vol.  iii.  p. 
118,  speaks  in  high  terms  of  the  fifteenth-century 
windows  of  St  Maclou,  declaring  that  they  compare 
favourably  with  those  of  Fairford  of  about  the  same 
date.  But  seen  in  the  brilliant  summer  sunshine, 
the  great  white  canopies  and  white  figures,  only 
relieved  by  finely  coloured  backgrounds,  produce 
such  an  impression  of  dulness  and  diluted  colour, 
that  on  looking  at  them  it  seems  not  at  all  surprising 
that  the  Renaissance  artists  of  the  early  sixteenth 
century  should  have  revolted  against  the  mon- 
otonous colourlessness  of  the  latest  Gothic  glass, 
and  should  suddenly  have  burst  out  into  the  riot 
of  brilliant  colour  so  characteristic  of  the  Renaissance 
glass  pictures  of  the  time  of  Francois  Premier. 


7 2 


STORIED  WINDOWS 


Two  of  the  very  finest  instances  of  this  Renaissance 
glass  are  to  be  found  in  the  Rouen  churches  of  St 
Vincent  and  St  Patrice. 

The  church  of  St  Vincent,  with  its  Renaissance 
choir,  has  the  rare  peculiarity  of  having  five  aisles 
like  Bourges  Cathedral.  This  makes  it  so  spacious 
in  proportion  to  its  length  as  to  give  it  the  appear- 
ance of  a large  hall  on  pillars,  of  which  almost  every 
part  seems  visible  at  the  same  time.  It  is  sur- 
rounded by  pictures  so  finished,  dramatic,  and 
beautiful,  that  the  observer  is  scarcely  conscious 
of  the  material  of  which  they  are  made. 

The  church  of  St  Vincent  contains  fourteen  large 
windows  of  the  best  Renaissance  style ; in  several  of 
them  there  is  no  canopy,  and  the  window  is  entirely 
filled  with  eight  equal  subjects  in  four  lights.  In 
the  north  and  east  there  is  a regular  scheme  of  the 
Genealogy,  Coming,  and  Birth  of  Christ,  beginning 
with  a Jesse  window.  Next  to  this  is  the  history 
of  St  John  the  Baptist,  including  the  dancing  of 
Salome,  whose  figure  is  said  to  have  been  entirely 
restored.  The  history  of  St  Peter  in  the  next 
window,  dated  1525,  includes  a distant  view  of  the 
churches  of  St  Ouen  and  St  Maclou  ; such  a distant 
view  painted  on  a grey-blue  sky  being  especially 
characteristic  of  French  Renaissance  glass.  Next  to 
the  history  of  St  Peter  is  the  much  more  simple 
window  of  the  Seven  Saints,  including  St  John  the 
Baptist,  Ste  Anne,  St  Nicolas  as  a Bishop  with  three 
children  at  his  feet,  St  James  and  St  Vincent  with 
three  swords,  in  which  the  canopy  ignores  the 
mullion.  At  the  end  of  the  north  aisle  is  the 


ROUEN:  ST  VINCENT 


73 


window  of  the  Works  of  Mercy,  signed  E.  L.  P. 
and  I.  L.  P.,  showing  that  this  masterpiece  of 
colour  and  drawing  is  by  the  great  artist  Engrand 
le  Prince  and  his  son  Jean.  The  last  window  on 
the  east  side  of  the  bay  which  ends  the  north  aisle 
contains  the  legend  of  St  Antony  of  Padua,  includ- 
ing the  miracle  of  the  mule  at  Toulouse,  who  con- 
founded the  Albigenses  by  adoring  the  Host. 

At  the  east  end  of  St  Vincent  are  five  windows. 
Of  these  the  first  two  on  the  north  side  depict  the 
Early  Life  and  Passion  of  Christ.  The  east  window 
contains  the  Crucifixion,  and  the  window  next  to  it 
on  the  south  the  Resurrection.  The  second  window 
on  the  south  contains  very  realistic  pictures  of  the 
Martyrdom  of  St  Vincent.  At  the  east  end  of  the 
south  aisle  is  a picture  of  the  Virgin  Mary  and  her 
traditional  sisters  Mary  Cleophas  and  Mary  Salome 
resting  on  three  branches  of  a tree,  which  issues 
from  the  breast  of  Ste  Anne,  their  traditional  mother. 
South  of  this  is  a window  with  the  history  of  Ste 
Anne,  above  which  is  the  legend  of  St  James  of 
Campostella  rescuing  the  dutiful  son  and  causing 
the  treacherous  innkeeper  to  be  hanged.  Then  comes 
the  fine  allegorical  window  of  the  Chariots,  so  called 
because  it  contains  three  triumphal  chariots. 

In  the  west  wall  on  the  northern  side  is  a window 
of  the  fifteenth  century,  much  restored,  representing 
the  Last  J udgment.  The  first  window  on  the  north 
wall  on  entering  from  the  west  is  of  the  fourteenth 
century,  removed  from  the  church  of  St  Andre  de 
Ville ; it  includes  beautiful  figures  of  St  Catherine, 
Gabriel,  and  the  Virgin.  In  the  clerestory  above 


74 


STORIED  WINDOWS 


the  north  transept  door  is  a Jesse  tree  like  the  one 
in  St  Maclou.  Just  above  the  north  portal  is  a 
window,  dated  1536,  with  the  attributes  of  the 
Passion,  including  the  sword  of  St  Peter  with  the 
ear  of  Malchus  sticking  to  the  blade,  as  in  Lescuyer’s 
window  in  Bourges  Cathedral. 

The  church  of  St  Patrice  in  Rouen  contains  glass 
which  dates  from  1540  to  the  end  of  the  sixteenth 
century.  In  one  respect  the  windows  are  even  more 
interesting  than  those  in  St  Vincent,  because  much 
greater  originality  is  shown  in  the  choice  of  subjects. 
Every  one  of  the  eight  windows  on  the  north  side 
has  a very  unusual  subject,  except  the  window 
which  contains  the  Annunciation. 

The  first  of  these,  beginning  from  the  west,  con- 
tains the  history  of  Job.  The  second  depicts  the 
life  of  St  Patrice.  In  the  third  is  the  martyrdom  of 
St  Barbara.  The  fourth,  of  which  the  subject  is  the 
Annunciation,  has  a splendid  figure  of  the  Angel 
Gabriel  with  ruby  wings.  The  fifth  contains  the 
conversion  of  the  Hunter  Saint  Eustache,  who  was 
martyred  under  Hadrian  in  118.  The  legend  that 
he  was  converted  by  meeting  a stag  with  a crucifix 
between  his  horns  has  been  transferred  to  the  patron 
saint  of  hunters,  Hubert,  Bishop  of  Lifege  and 
Apostle  of  the  Ardennes,  who  died  in  730.  Day,  in 
‘Windows/  p.  378  (1st  edition),  gives  the  following 
graphic  description  of  this  window  as  an  instance  of 
the  decorative  and  dramatic  treatment  of  the  early 
sixteenth  century : “ In  the  centre  of  the  window, 
against  a background  of  forest,  with  the  distant 
hunt  in  full  cry,  St  Eustache  stands  entranced,  his 


ROUEN:  ST  PATRICE 


75 


richly-clad  figure  a focus  of  bright  colour;  facing 
him  in  one  light  the  legendary  stag  enclosing 
between  its  antlers  the  vision  of  the  crucifix, 
balanced  in  the  other  by  the  white  horse  of  the 
convert : the  note  of  white  is  repeated  in  the  lithe 
hounds  running  through  the  three  lights,  and  with 
the  silvery  trunks  of  the  trees  holds  the  composition 
together.” 

The  next  window  contains  a number  of  scenes 
from  the  life  of  St  Louis.  One  of  these  is  also 
described  by  Day  on  the  same  page,  as  follows : 
“ The  king  in  a golden  boat  with  white  sails, 
ermine  diapered,  a crown  upon  his  head,  kneels 
in  prayer  before  a little  crucifix,  whilst  his  one 
companion  lifts  up  his  hands  in  terror : the  man 
is  clad  in  green  : for  the  rest  the  colour  is  sombre, 
only  the  pale-blue  armour  of  the  Saint,  his  dark- 
blue  cloak,  and  the  leaden  sea  around,  that  extends 
to  the  very  top  of  the  picture,  distant  ships  painted 
upon  it  to  indicate  that  it  is  water.”  The  inscrip- 
tion explains  how — 

En  revenant  du  pays  de  Syrie, 

En  mer  fut  tourmente  de  grande  furie, 

Mais  en  priant  Jesu  Christ  il  en  fut  d^livrd. 

On  returning  from  the  land  of  Syria, 

On  sea  was  a storm  of  great  fury, 

But  by  praying  Jesus  Christ  he  was  delivered  therefrom. 

East  of  the  window  of  St  Louis  are  three  windows, 
forming  a bay  at  the  end  of  the  north  aisle  of  Saint 
Patrice.  The  first  two  of  these  are  dated  1540. 
They  contain  the  story  of  St  Fiacre,  who  came  from 


76 


STORIED  WINDOWS 


Ireland  to  France,  and  lived  near  Meaux,  and  died 
in  670.  He  is  the  patron  saint,  not,  as  might  have 
been  expected  from  his  name,  of  cabmen,  but  of 
gardeners.  The  use  of  the  word  “ fiacre  ” as  a 
name  of  a cab  simply  originated  from  the  Hotel 
St  Fiacre,  in  the  rue  St  Martin  in  Paris,  where 
the  first  “ fiacres  ” were  established.  The  third 
window  on  the  east  side  of  the  bay  has  four 
figures  in  it  with  a good  deal  of  white ; one  of 
these  is  the  Mater  Dolorosa.  Next  to  this  is  a 
fine  window  containing  the  Fall  of  Man  below,  and 
above  is  the  Triumph  of  the  Cross,  in  which  the 
Cross  and  the  Virgin  are  carried  in  a triumphal 
car  drawn  by  the  Virtues  Amour  and  Obedience. 

The  three  east  windows  of  St  Patrice  are  round- 
arched  and  enormously  high,  letting  in  a great  deal 
of  light.  They  contain  the  closing  scenes  of  the 
Life  of  our  Lord.  In  the  first  are  the  Passion, 
the  Kiss  of  Judas,  the  Judgment  of  Pilate,  the 
Scourging  and  Carrying  the  Cross.  The  east 
window  has  the  Crucifixion ; and  in  the  south-east 
window  are  the  events  after  the  Resurrection.  On 
the  south  wall  of  the  chapel  on  the  left  of  the  east 
end  is  a window  dated  1549. 

In  the  lower  half  of  the  window  of  1543,  which 
has  the  conversion  of  St  Eustache,  is  a martyrdom 
scene,  in  which  the  executioners  are  realistically 
disconcerted  by  the  heat  of  the  flames  which  they 
are  stirring.  Either  of  these  pictures  would  have 
been  enough  to  make  a good  window.  The  crowd- 
ing of  two  or  more  elaborate  pictures  into  one 
window  causes  a feeling  almost  of  satiety,  when 


ROUEN:  ST  PATRICE,  MUS^E  77 


looking  at  many  Renaissance  windows  one  after 
another,  affording  an  illustration  of  the  line  of 
Hesiod  in  ‘Works  and  Days' — 

vrjTnot  ov&  LcraaLV  ocru)  7 r\eov  rjiucrv  7 ravro?. 

“ Fools,  nor  even  wist  they  how  much  more  the  half  is  than 
the  whole.” 

For  though  each  window  of  the  almost  unrivalled 
Renaissance  glass  in  St  Vincent  and  St  Patrice  is 
a splendid  and  satisfying  picture,  yet  the  eye  is 
confused  by  the  bewildering  number  of  figures, 
and  cloyed  by  the  amount  of  colour  in  so  small 
a space,  and  it  turns  with  relief  to  the  window  in 
the  north-east  corner  of  St  Vincent,  which  has  only 
seven  saints  in  three  pictures  one  above  the  other. 

In  the  Musee  des  Antiquites  in  Rouen  are  some 
fine  specimens  of  mediaeval  glass.  The  first  on  the 
right  is  a thirteenth-century  window,  with  tracery 
of  the  fourteenth  century.  It  is  placed  quite  low 
down,  so  that  it  is  easy  to  inspect,  and  in  it  may 
be  noticed  the  uneven  surface  of  the  thirteenth- 
century  glass.  Opposite  to  it  are  three  Renais- 
sance windows,  with  six  scenes  depicting  the  story 
of  the  woman  who  stole  the  Host,  and  gave  it  to 
the  sacrilegious  Jew,  and  then  repented  and  stole 
it  back  from  the  Jew  when  he  was  asleep.  In  the 
fifth  window  on  the  right,  dated  1543,  the  abrasion 
of  red  and  blue  can  be  clearly  seen  in  the  shield. 
And  likewise  in  the  opposite  window  on  the  left, 
dated  1572,  the  yellow  stain  on  the  abraded  white 
surface  may  be  seen.  There  are  several  other  in- 
teresting windows  in  the  museum,  but  none  of  these 
are  of  earlier  date  than  the  sixteenth  century. 


78 


CHAPTER  XIV. 

GRAND  ANDELY. 

Thirty  miles  from  Rouen  is  Grand  Andely,  near 
the  massive  ruins  of  the  Chateau  Gaillard,  that 
Saucy  Castle  built  by  Richard  Cceur  de  Lion  to 
protect  Normandy  from  attacks  by  the  Seine,  which 
Philip  Augustus  took  from  King  John,  and  Henri 
IV.  destroyed  lest  it  should  be  used  against  him. 

The  church  of  Grand  Andely  is  an  enormous 
structure,  extremely  well  lighted  by  glass.  The 
windows  are  variously  dated  from  1540  to  1616. 
The  glass  is  all  of  the  Renaissance  style,  except 
the  east  window,  which  has  been  completely  re- 
stored, but  dates  from  the  first  half  of  the  four- 
teenth century,  and  a fifteenth-century  window  at 
the  east  end  of  the  north  clerestory  of  the  nave. 
The  church  was  built  between  the  thirteenth  and 
fifteenth  centuries.  But  in  the  sixteenth  century 
the  two  transepts  and  the  chapels  on  the  south 
side  were  added. 

In  the  clerestory  of  the  choir  are  four  magnificent 
windows.  In  the  first  on  the  south  side,  to  the 
right  on  entering  the  choir,  are  four  figures  of  St 


GRAND  ANDELY 


79 


Romain,  Archbishop  of  Rouen ; Jesus  Christ ; St 
Catherine ; St  Nicolas,  Bishop  of  Myra.  One  of 
these  is  a large  figure  of  brilliant  golden  hue.  In 
the  upper  part  are  five  shields  with  the  arms  of 
France  (azure,  with  golden  fleurs-de-lis ),  Brittany, 
Normandy,  Rouen,  and  the  Dauphin,  recalling  the 
titles  of  the  donor,  Henri  Deux,  who,  when 
Dauphin,  was  appointed  governor  of  Normandy 
and  Rouen  in  1531,  and  became  King  of  France 
and  Duke  of  Brittany  in  1547.  The  other  three 
windows  in  the  clerestory  of  the  Choir  contain 
the  twelve  Apostles.  Above  the  head  of  St 
Matthew,  in  the  second  window  on  the  south 
side,  in  the  green  drapery,  is  the  signature  of  the 
artist,  Romain  Buron,  who  was  a glass  painter  at 
Gisors  in  the  middle  of  the  sixteenth  century. 

In  the  clerestory  of  the  nave  are  six  large 
windows  of  four  lights  each,  with  brilliant  colour 
of  the  Renaissance  period.  Of  these  the  finest 
is  dated  1560,  and  is  of  extremely  powerful  colour- 
ing. It  contains  the  appearance  of  the  three  angels 
to  Abraham,  the  Sacrifice  of  Abraham,  Isaac  bless- 
ing Jacob,  and  Joseph  being  let  down  by  his 
brothers  into  the  pit.  These  six  windows  rep- 
resent consecutive  scenes  of  Old  Testament  his- 
tory, from  the  Creation  to  the  time  of  Moses. 

In  the  side  chapels  on  the  south  of  the  nave  of 
Grand  Andely  are  six  old  windows.  Starting  from 
the  west,  in  the  first  chapel  on  the  south  side  are 
two  brilliant  Renaissance  windows,  of  four  lights, 
giving  the  history  of  Ste  Clotilde,  who  married 
Clovis,  the  first  Merovingian  King  of  the  Franks 


80 


STORIED  WINDOWS 


in  493,  and  converted  him  to  Christianity  three 
years  later.  Each  light  has  a descriptive  inscrip- 
tion. One  picture  tells  how  Clotilde  stopped  a 
strike  of  the  workmen  who  were  building  the 
church,  and  who  were  grumbling  for  want  of 
wine — 

Pour  les  ouvriers  qui  bastirent  l’eglise, 

Clotilde  refist  la  marveille  de  Cana, 

Du  Seigneur  Dieu  grande  faveur  fut  mise, 

A l’eau  d’Andeli  le  goust  de  vin  donna. 

For  the  workmen  who  built  the  church, 

Clotilde  again  performed  the  miracle  of  Cana, 

From  the  Lord  God  great  grace  was  sent, 

To  the  water  of  Andeli  he  gave  the  taste  of  wine. 

In  the  second  chapel  is  a window  with  scenes  from 
the  life  and  martyrdom  of  St  Leger,  Bishop  of 
Autun,  who  crowned  King  Childeric  II.  In  the 
third  chapel  is  a window  of  which  the  only  old 
glass  is  in  the  tracery.  In  the  fourth  chapel  is 
a window,  dated  1540,  containing  very  beautiful 
pictures  of  the  Annunciation  and  the  Assumption 
of  the  Virgin,  and  of  the  legend  of  the  Vidame 
Th^ophile,  who  sold  his  soul  to  the  devil,  but  was 
saved  from  bondage  by  the  Virgin  Mary.  Before 
the  Virgin  kneels  Theophile,  bound  with  a white 
cord,  held  by  a fearsome  fiend  entirely  made  of 
splendid  ruby  glass.  This  strange  figure  is  made 
up  of  the  attributes  of  the  seven  deadly  sins, 
having  the  head  of  a Boar,  the  ears  of  an  Ass,  the 
breasts  of  a Woman,  and  the  tail  of  a Wolf.  The 
other  attributes  of  the  Lion,  the  Dog,  and  the 
Badger  or  Ape  are  not  very  clearly  shown. 


GRAND  ANDELY 


81 


The  legend  of  the  Vidame  Theophile  and  his 
pact  with  the  Evil  One  is  a favourite  subject  in 
mediaeval  windows.  It  is  represented  three  times 
in  the  cathedral  of  Le  Mans.  The  attributes  of 
the  seven  deadly  sins  are  found  in  a MS.  of  the 
fourteenth  century,  figured  by  Male  in  ‘ L'Art  Re- 
ligieux  en  France  au  Moyen  Age/  Here  the  Boar 
stands  for  Anger,  the  Ass  for  Sloth,  the  Wolf  for 
Gluttony,  the  Lion  for  Pride,  the  Dog  for  Envy, 
the  Goat  for  Lust,  and  the  Badger  for  Avarice. 
In  the  Horae  of  Dunois  the  Bastard  of  Orleans, 
circa  1450,  the  Ape  takes  the  place  of  the  Badger. 
Spenser,  in  the  fourth  canto  of  the  first  book  of 
the  ‘ Faery  Queene,'  which  is  nearly  contemporary 
with  the  window  at  Grand  Andely,  describes 
Lucifera,  the  Queen  of  Pride,  being  driven  by  six 
beasts  on  which  six  deadly  sins  did  ryde ; but 
Spenser  attributes  a Swyne  to  Gluttony,  a Camell 
to  Avarice,  a Wolfe  to  Envie,  and  a Lion  to  Wrath. 
There  does  not  seem  to  be  any  standardised  figure, 
as  a consistent  and  authoritative  representation  of 
the  Devil  in  Mediaev^pArt,  but  each  artist  seems 
to  have  followed  his  Own  fancy.  In  Conway's 
‘ Demonology,'  vol.  ii.  p.  295,  is  a demon  with  an 
ass's  ears ; and  in  vol.  i.  p.  197,  and  in  vol.  ii.  pp. 
257  and  419,  are  snouted  demons.  In  the  three 
panels  representing  the  temptation,  at  the  base  of 
the  famous  window  in  Chartres  Cathedral,  known 
as  Notre  Dame  de  la  belle  verriere,  the  fiend  is 
represented  with  somewhat  similar  ears  and  snout 
to  those  of  the  fiend  holding  the  Yidame  Theophile 

F 


82 


STORIED  WINDOWS 


at  Grand  Andely ; and  in  the  window  of  St  Eloi,  in 
the  chapel  of  St  Louis  at  Le  Mans,  the  bishop, 
dressed  as  a goldsmith,  is  gripping  the  snout  of 
a demon  with  pincers. 

In  the  last  chapel  on  the  south,  next  to  the  south 
transept,  is  a splendid  five-light  window  of  a simple 
design,  which  rests  the  eye  after  the  complicated 
mass  of  figures  in  the  preceding  window.  It  con- 
tains five  large  single  figures  of  St  Sebastian,  St 
John,  the  Virgin  Mary,  St  Evode  the  Archbishop, 
who  died  at  Grand  Andely,  and  Mary  Magdalene. 
The  episcopal  figure  closely  resembles  that  of  St 
Nicolas,  in  the  window  of  the  Seven  Saints,  in 
the  church  of  St  Vincent  at  Rouen. 

Above  the  portal  of  the  south  transept  is  a 
beautiful  little  window  containing  three  scenes  of 
the  Crucifixion  : the  Virgin,  and  St  John,  and  the 
Holy  Women;  Jesus  crucified,  and  Mary  Magdalene 
at  the  foot  of  the  Cross ; Roman  soldiers  assuring 
themselves  that  Jesus  is  dead. 

In  the  chapel  east  of  the  south  transept  of 
Grand  Andely  are  two  windows,  one  of  which  is 
modern ; the  other  is  much  restored  but  still 
beautiful,  with  a white  frame,  of  which  the  effect 
is  very  satisfactory.  In  it  the  subjects  are  the 
Annunciation,  the  Shepherds  and  the  Magi;  in 
the  tracery  is  the  donor  and  his  son,  inscribed 
3ri}an  33as,  the  name  of  Jean  Basset,  Vicomte  de 
Gisors,  and  Chamberlain  of  Francois  Premier.  In 
the  tracery  of  the  preceding  window  above  the 
south  portal  are  his  wife  and  four  daughters.  The 
three  windows  at  the  eastern  end  of  the  south 


GRAND  ANDELY 


83 


aisle  are  also  much  restored,  but  yet  very  fine. 
They  seem  to  have  been  moved  from  the  place 
where  Westlake  saw  them  when  he  described 
them.  These  three  windows  contain  a life  of  St 
Peter.  In  the  tracery  of  the  first  there  is  a curious 
blunder.  St  Peter  is  there  represented  holding  a 
fish  and  a large  pair  of  scales,  because  the  artist 
has  mistaken  the  Greek  word  ararripa  in  Matthew 
xvii.  27,  which  means  a piece  of  money,  for  the 
Latin  word  of  the  same  sound,  statera , which 
means  a balance. 

Only  three  windows  in  the  chapels  on  the  north 
side  contain  ancient  glass.  In  the  easternmost  is 
a martyrdom  of  St  Vincent,  dated  1611,  of  which 
the  figures  are  modern,  but  the  borders  are  ancient. 
In  the  next  chapel  is  a Crucifixion  on  grisaille 
quarries,  with  a golden  fleur-de-lis  in  each.  This 
is  inscribed:  cegtc  bttre  a t$ti  po \i  le  mti  SIX  CC 
gatje — i.e .,  this  window  was  put  up  in  1616. 

In  the  third  chapel,  adjoining  the  North  transept 
of  Grand  Andely,  is  a figure  of  St  Christopher  bear- 
ing the  infant  Jesus.  It  has  a remarkable  border 
with  a black  ground  and  the  arms  of  the  donor, 
Jean  Picart,  councillor  of  Francois  Premier.  Like 
most  Renaissance  glass,  the  windows  of  Grand 
Andely  begin  low  down,  and  are  therefore  easy 
to  examine  and  appreciate. 


84 


CHAPTER  XV. 


EVREUX. 


About  thirty  miles  south  of  Grand  Andely  is  Evreux, 
which  was  seized  by  Philip  Augustus  in  1199,  on  the 
death  of  Richard  Coeur  de  Lion.  Louis,  the  son  of 
Philip  Augustus,  married  Blanche  of  Castille,  the 
daughter  of  King  John’s  sister  Eleanor,  who  was 
the  wife  of  Alfonso  VIII.  of  Castille.  Evreux  came 
to  Prince  Louis  as  part  of  the  marriage  portion  of 
King  John’s  niece.  Prince  Louis  tried  to  become 
King  of  England,  but  when  John  died  he  was 
expelled  from  England.  He  became  King  Louis 
VIII.  of  France,  and  by  his  wife  Blanche  of  Castille 
he  had  a son,  who  succeeded  him  as  Louis  the  Ninth, 
better  known  as  St  Louis.  The  grandson  of  St 
Louis  became  Count  of  Evreux,  and  his  grandson 
was  Charles  le  Mauvais,  the  Count  of  Evreux  and 
King  of  Navarre  in  the  time  of  the  Black  Prince. 

The  windows  in  the  cathedral  of  Evreux  are  a 
noble  collection  of  the  finest  glass  of  the  fourteenth 
century,  together  with  some  glass  of  the  fifteenth 
century,  and  a few  figures  of  the  thirteenth  century. 

The  cathedral  is  well  lighted,  because  the  triforium 


EVREUX 


85 


all  round  the  building  is  completely  glazed  with 
grisaille,  chiefly  with  heraldic  decoration.  The  four- 
teen windows  of  the  clerestory  of  the  nave  are 
mostly  filled  with  grisaille ; for  many  of  the  figures 
have  been  removed  from  the  nave  to  fill  up  gaps  in 
the  clerestory  of  the  choir.  Two  notable  windows 
remain  in  the  clerestory  of  the  nave,  the  fifth  on 
each  side  starting  from  the  west.  The  fifth  window 
on  the  north  side  belongs  to  the  earliest  years  of 
the  fifteenth  century.  It  is  filled  with  great  figures 
almost  entirely  in  white,  with  an  inscription  stating 
that  it  was  given  by  Bishop  Cantier  to  commemorate 
his  election  in  1400  as  Bishop  of  Evreux.  The 
window  opposite  to  this,  on  the  south  side  of  the 
clerestory  of  the  nave,  has  a Renaissance  picture 
in  the  lower  part,  in  which  the  arch  of  the  canopy 
ignores  the  mullion  and  binds  the  two  lights  to- 
gether, treating  them  as  a single  space.  The  picture 
represents  King  Charles  the  Wise  kneeling  before  an 
open  book. 

The  clerestory  of  the  choir  contains  the  most 
splendid  and  remarkable  windows  in  the  cathedral 
of  Evreux.  The  first  four  windows  on  the  south 
side,  on  entering  from  the  west,  have  been  made 
up  from  the  nave.  The  borders  have  been  so  much 
disturbed  that  it  is  evident  that  the  figures  are  not 
in  their  original  places.  The  original  position  of 
the  glass  of  the  other  ten  windows  does  not  seem  to 
have  been  much  altered,  although  some  of  the  lights 
have  been  rearranged. 

The  first  window  on  the  north  forms  an  angle  with 
the  line  of  the  rest.  It  is  the  only  one  which  belongs 


86 


STORIED  WINDOWS 


to  the  fifteenth  century,  while  all  the  others  are  of 
the  fourteenth.  This  remarkably  interesting  win- 
dow had  no  borders  except  the  white  shafts  of  the 
canopies.  It  contains  figures  of  the  four  Maries, 
and  portraits  of  Pope  Eugene  IV.,  King  Charles  the 
Seventh,  and  Louis  the  Eleventh  as  Dauphin,  and 
their  shields  are  in  the  tracery.  This  window,  says 
the  Bishop  of  Evreux,  commemorates  four  famous 
events : — 

(1)  The  end  of  the  Papal  schism  under  Pope 
Eugene  IV. 

(2)  The  recovery  of  Normandy  by  Jeanne  d’Arc 
and  Charles  the  Seventh. 

(3)  The  appointment  of  Louis  the  Dauphin  as 
Duke  of  Normandy. 

(4)  King  Renes  gift  to  the  Bishop  of  Evreux  of 
the  relics  of  Mary  Cleophas  and  Mary  Salome. 

Next  to  this  is  a window  which  has  in  one  of  the 
lights  a figure  of  St  Denis  carrying  his  mitred  head 
in  his  hand,  and  clad  in  the  royal  azure  robe  with 
golden  fleurs-de-lis , as  the  patron  saint  of  France. 
This  window  is  inscribed  JHessire  Jctaoul  tie  Jferrteres 
cfjattotne  tie  ceans  ticmna  cette  berrtere — i.e .,  Raoul 
de  Ferri&res,  canon  of  this  church,  gave  this 
window. 

Adjoining  this  is  the  celebrated  Harcourt  window, 
put  up,  as  the  inscription  says,  by  Harecourt  and  his 
wife  Blanche  Auvaugour.  This  Harcourt,  who  died 
in  1327,  held  the  singular  title  of  Grand  Queux 
( = Cook)  of  France.  The  date  of  the  window  is 
about  1315.  The  portrait  of  Harcourt  on  the  right 
is  excellent;  in  the  centre  lights  are  St  Catherine 


EYREUX  CATHEDRAL. 

Pedestal  of  Canopy  with  Kneeling  Figures  in  the  Choir. 
XVth  Century. 


EYREUX 


87 


and  the  Virgin,  and  on  the  left  is  Blanche  Auvaugour. 
St  Catherine  has  a toothed  wheel  and  a sword.  The 
legend  is  that  she  was  martyred  on  a wheel  set  with 
razors,  but  when  she  touched  the  wheel  it  broke  and 
the  razors  flew  off*  and  cut  the  throats  of  the  by- 
standers as  in  the  window  in  the  east  wall  of 
Moulins  Cathedral,  and  a sword  was  obtained  to  cut 
off  her  head.  There  are  two  pictures  of  St  Catherine 
with  a wheel  and  sword  both  at  Ludlow  and  in  the 
Lady  Chapel  of  the  cathedral  at  Oxford.  The 
subject  is  a favourite  one  in  French  windows  ; the 
finest  examples  are  in  the  nave  of  Angers  Cathedral, 
and  in  the  east  wall  of  Moulins  Cathedral.  The 
legend  caused  the  name  Catherine  wheel  to  be  given 
to  the  firework  in  1760.  The  arrangement  of  the 
Harcourt  window  has  been  greatly  altered  since 
Westlake  drew  it  in  1881. 

The  next  window  was  also  given  by  Canon  de 
Ferrieres,  who  is  represented  as  donor  kneeling  and 
offering  a window  to  the  Virgin.  This  window  has 
two  displaced  figures.  The  one  on  the  left  is  a 
Pope,  and  in  the  outer  right  hand  light  is  a portrait, 
removed  from  the  nave,  of  Charles  le  Mauvais, 
Count  of  Evreux  and  King  of  Navarre,  who  was 
born  in  1332  and  died  in  1387.  Above  his  figure 
is  tracery  with  a fine  foliated  pattern  and  a beautiful 
crowned  head  of  St  Catherine  in  the  centre.  The 
next  two  windows  were  given  by  Bernard  Cariti, 
Bishop  of  Evreux  from  1376  to  1383.  They  are 
marked  by  his  shield  with  ten  gold  bezants  on  a 
red  ground.  These  two  windows  have  no  border 
except  the  white  shafts  of  the  canopies.  In  the  first 


88 


STORIED  WINDOWS 


is  an  Abbot  and  a Saint,  and  in  the  second  Bishop 
Cariti  and  the  Virgin  and  Child. 

At  the  east  end  are  three  windows.  That  on  the 
north-east  has  the  Annunciation.  It  is  inscribed 
ffiaufh,  Slbbas  33ecti  postea  I£ps  lEbrotcensis— i.e., 
Geoffrey,  Abbot  of  Bee,  afterwards  Bishop  of  Evreux. 
This  is  one  of  four  windows  given  by  Geoffrey  Fae, 
who  was  Bishop  of  Evreux  from  1335  to  1340. 
The  east  window  contains  the  Virgin  Mary,  and 
John  the  Baptist,  and  the  donor,  inscribed  Jrater 
he  Prato  lEptscopus  lEfcrotcenste— i.e.,  Jean  de 
Pre,  who  was  Bishop  of  Evreux  from  1329  to  1334. 
The  south-east  window  contains  the  Coronation  of 
the  Virgin,  who  is  being  blessed  by  the  crowned 
Christ,  inscribed  fflng  ©auftJ  ShhaS,  &c.,  with 
Geoffrey  Fae  kneeling  as  donor. 

The  first  window  on  the  south  side  of  the 
clerestory  of  the  choir  contains  a Virgin  Martyr 
and  St  Martin,  inscribed  ffiauffc  Jae  Sbhas,  &c. 
The  next  one,  also  inscribed  ffiauftt&US,  has 
figures  of  St  Maur  and  St  Michael.  The  last  four 
windows  on  the  south  side  going  westward  are 
composite,  having  been  much  disturbed  and  made 
up  with  figures  from  the  nave.  The  first  of  these 
has  the  Assumption  in  three  lights,  with  an  inscrip- 
tion beginning  Unit  elfCta  JHca*  In  the  fourth 
light  is  a portrait  of  Jeanne  de  France,  wife  of 
Charles  le  Mauvais,  who  bore  a son  at  Evreux. 
She  was  the  sister  of  Charles  the  Wise. 

The  next  window  contains  the  Virgin  and  Child, 
the  Crucifixion,  a Pope,  and  a figure  of  St  Denis, 
like  the  one  in  the  window  on  the  north  side.  The 


EVREUX 


89 


arrangement  of  this  window,  like  that  of  several 
others,  has  been  entirely  altered  since  Westlake 
described  it  in  1881  in  his  very  interesting  account 
of  the  windows  of  Evreux  in  vol.  iii.  pp.  66-70. 

The  last  window  but  one,  in  the  south  clerestory 
of  the  choir,  has  four  figures,  including  a saint  with 
two  swords,  possibly  St  Vincent,  who  has  three 
swords  in  the  window  of  Seven  Saints  in  St  Vincent, 
Eouen.  The  borders  of  this  window  are  much  cut 
about.  The  window  at  the  western  end  of  the  south 
clerestory  contains  St  Squtltu  (Bishop  of  Evreux 
in  the  K seventh  century),  under  a round-arched 
canopy,  a Canon  kneeling  under  a fourteenth- 
century  canopy,  inscribed  JHestre  he  fEoltns 
(whose  date  is  1385),  the  Virgin  and  Child  under 
a fourteenth-century  canopy,  and  St  STauritt 
(founder  of  the  Christian  Church  of  Evreux),  in 
the  right-hand  light,  under  a round-arched  canopy. 
All  the  figures  in  this  window  have  been  collected 
from  the  nave,  and  the  two  centre  lights  have  no 
border.  This  completes  the  fifteen  windows  of  the 
choir  clerestory  at  Evreux. 

In  the  chapels  of  the  choir,  starting  from  the 
west  on  the  north  side,  the  first  window  contains 
grisaille.  Of  the  four  lights  of  the  second  window 
the  two  outside  have  fourteenth-century  figures, 
and  in  the  two  inside  are  Renaissance  canopies 
over  a kneeling  lady,  and  Mathieu  des  Essarts 
with  his  arms  (he  was  Bishop  of  Evreux,  1299-1310), 
and  it  has  a broad  chevron  border.  In  the  third 
window  is  the  same  border ; in  its  outer  lights  are 
fourteenth-century  figures,  including  a later  Madonna 


90 


STORIED  WINDOWS 


in  white  on  a green  ground ; in  the  two  inner  lights 
the  Virgin  and  Child,  and  a fine  Renaissance  picture 
of  Bishop  Peter  Bridier.  The  picture  is  inscribed 
L.  R.  ( i.e .,  Ludovicus  Rex),  being  in  the  chapel 
of  St  Louis.  Two  of  the  shields  show  flashed  and 
abraded  blue  glass.  The  fourth  window  contains 
the  legend  of  St  Martin ; the  fifth  has  grisaille  of 
the  fourteenth  century. 

The  last  chapel  before  the  Lady  Chapel  contains 
beautiful  late  fourteenth-century  windows  with 
figure  subjects  including  a great  deal  of  white  glass, 
having  grisaille  above  and  below.  In  the  centres 
of  the  grisaille  are  circles  containing  angels  in  white 
on  a ground  of  yellow  stain,  with  the  badge  of 
Guillaume  du  Vallon,  who  was  Bishop  of  Evreux 
from  1389  to  1400.  This  chapel  especially  rewards 
careful  examination. 

In  the  Lady  Chapel  of  Evreux  Cathedral  is  some 

of  the  finest  glass  of  the  transitional  period  at  the 

end  of  the  fifteenth  century.  The  chapel  was  built 

chiefly  at  the  expense  of  Louis  the  Eleventh, 

who  reigned  from  1461  to  1483.  The  “Sacre”  (or 

Coronation)  of  Louis  the  Eleventh  by  the  Bishop 

of  Chalons  is  represented  in  the  tracery  of  four 

windows,  the  first  two  on  each  side  on  entering, 

including  figures  of  the  twelve  peers  of  France  who 

assisted  at  the  ceremony. 

•/ 

There  are  nine  windows  in  the  Lady  Chapel,  three 
on  each  side  and  three  at  the  east  end.  The  fact 
that  it  owes  its  origin  to  the  King  of  France  is 
shown  in  the  tracery,  for  there  are  single  fleurs-de- 
lis  of  stone  at  the  top  of  each  of  the  three  east 


EVBEUX 


91 


windows,  and  triple  fleurs-de-lis  at  the  top  of  each 
of  the  six  side  windows.  Fleurs-de-lis  in  stone 
tracery  are  rare,  but  they  are  also  to  be  met  with 
in  the  cathedral  at  Bourges.  All  these  nine 
windows  are  very  lofty,  but  they  begin  low  down. 
The  three  windows  on  each  side  contain  many 
figures  and  have  no  borders.  The  three  at  the  east 
end  seem  rather  later,  perhaps  of  the  earliest  years 
of  the  sixteenth  century. 

The  east  window  in  the  Lady  Chapel  of  Evreux 
Cathedral  contains  a beautiful  Jesse  tree,  of  wThich 
Westlake,  in  his  ‘History  of  Design  in  Painted 
Glass/  vol.  iii.  p.  110,  says:  “It  is  singular  both 
in  composition  and  colour,  and  is  full  of  artistic 
innovations.  The  sizes  of  the  figures  in  it  are 
varied  continually,  while  some  of  them  are  only 
demi-figures  placed  in  flowers  and  foliage.  The 
colour  also  is  somewhat  peculiar.  The  robe  of 
Our  Lady  is  a darkish  warm  blue  placed  upon  a 
background  of  lighter  and  greyer  blue.  The  outer 
dress  is  lined  with  ermine,  the  inner  dress  is  of 
warm  ruby.  Jesse  has  a ruby  robe  ground  out  in 
parts  and  stained  yellow ; his  sleeves  and  skirt  are 
purply  grey ; the  field  behind  him  is  emerald  green. 
The  Prophet  on  his  left  hand  is  draped  in  this  same 
green,  with  a yellow  border,  having  coloured  jewels 
upon  it ; the  lining  is  ruby ; his  head-dress  is  brown 
purple ; his  under-dress  dark  purply  grey ; the  scroll 
over  his  head  and  the  branches  of  the  tree  are  white. 
The  little  demi-figures  are  variously  coloured  ruby, 
green,  brown,  pink,  &c.  One  of  these  is  a coloured 
man . The  Eternal  Father,  holding  his  Crucified 


92 


STORIED  WINDOWS 


Son  in  the  top  of  the  tracery,  is  dressed  in  grey 
purple,  the  crown  and  the  nimbus  are  yellow- 
stained,  and  the  background  is  of  the  same  blue 
which  runs  throughout  the  window.  The  figure  of 
Our  Lord  and  the  other  portions  of  Our  Lady’s  dress 
are  white.  In  the  other  pieces  of  tracery  dark  ruby 
seraphim  are  scattered  upon  the  blue  ground.” 

On  the  south  side  beyond  the  Lady  Chapel  of 
Evreux  Cathedral  is  a window  with  ten  coloured 
figure  panels  of  very  small  size,  set  in  grisaille  of 
very  early  fourteenth  century,  encircled  with  a 
border  consisting  of  the  arms  of  France  and 
Castille. 

In  the  ninth  chapel  are  nine  small  coloured  figure 
panels  under  canopies,  on  grisaille,  forming  a band 
of  colour  across  the  lights.  In  the  right-hand  light 
is  Nicolaus  Cardinal,  mostly  in  yellow  pot-metal, 
holding  a yellow  window  in  his  hand  as  donor.  He 
was  Nicolas  Aide  de  Nonancourt,  who  became 
Cardinal  in  1294  and  died  in  1299.  Westlake 
draws  attention  to  the  similarity  in  style  between 
these  windows  and  those  in  Merton  College  Chapel. 

The  next  three  chapels  contain  very  pleasing  little 
subjects  of  the  fourteenth  century. 

The  line  of  chapels  is  continued  beyond  the  South 
transept  all  round  the  nave  on  both  sides.  Most 
of  these  chapels  contain  figures  of  the  early  part  of 
the  fourteenth  century,  but  some  are  assigned  to  the 
thirteenth.  In  the  second  chapel  west  of  the  south 
transept  are  figures  of  Christ  and  the  Virgin,  and 
four  Apostles  and  Jean  de  Meulent,  Canon  of 
Evreux. 


EVREUX  CATHEDRAL. 

Female  Figure  in  the  Choir. 


EVREUX 


93 


In  the  South  transept  the  first  window  on  the 
east  side  in  the  lofty  clerestory  contains  the  por- 
trait of  Louis  the  Eleventh  and  the  Vierge  d’Evreux. 

There  are  Rose  windows  in  both  transepts.  The 
one  in  the  South  transept  is  filled  with  sixteenth- 
century  glass,  representing  the  Coronation  of  the 
Virgin,  with  figures  of  the  Apostles  below.  The 
Rose  in  the  North  transept  depicts  the  Last  Judg- 
ment, with  similar  figures  in  strong  colour  with 
white  canopies  and  some  yellow  stain. 

When  at  Evreux  the  church  of  St  Taurin  should 
be  visited.  In  the  choir  are  seven  windows — four 
of  the  fifteenth  century,  one  of  late  fourteenth  with 
two  modern  windows,  the  second  on  each  side. 
These  fifteenth-century  windows  have  no  borders 
except  the  white  shafts  of  the  canopies.  The  win- 
dow on  the  north,  to  the  left  on  entering  the  choir, 
contains  the  Assumption.  The  first  window  on  the 
south  contains  the  Ascension,  of  glass  of  the  extreme 
end  of  the  fourteenth  century.  The  three  eastern 
windows  contain  the  legend  of  St  Taurin.  The 
design  and  colour  of  the  East  window  is  very  fine. 
These  windows  are  crowded  with  figures.  In  the 
South  transept  is  a much  simpler  window  of  the 
fifteenth  century ; in  three  of  the  five  lights  are 
fine  single  figures  of  St  Ambrose,  St  Gregory,  and 
St  Augustine.  In  the  late  flamboyant  tracery  of 
this  window  are  plain  glazed  quarries.  In  the 
church  of  St  Taurin  there  is  a magnificent  silver- 
gilt  reliquary  which  is  classed  as  a Monument 
Historique. 


CHAPTER  XVI. 


CONCHES,  SEES,  ALEN^ON. 

Eleven  miles  from  Evreux  is  Conches,  where  the 
town  and  the  church  of  Ste  Foy  are  situated  on 
a hill  above  the  railway  station.  The  splendid 
Renaissance  windows  of  Conches  rival  those  of  St 
Vincent  and  St  Patrice  at  Rouen.  They  produce 
on  the  beholder,  as  he  enters  the  church,  the  im- 
pression of  a palace  of  colour.  The  seven  windows 
of  the  apse  were  designed  by  Aldegrever,  the  cele- 
brated German  “ Little  Master,”  who  was  born  in 
1502  and  died  in  1558.  His  signature  is  clearly 
visible  on  the  yellow  edge  at  the  foot  of  a robe 
at  the  bottom  of  the  first  window  to  the  left  of 
the  East  window.  The  date  of  1520  has  been 
assigned  to  these  windows,  but  it  seems  unlikely 
that  Aldegrever  should  have  designed  them  at  the 
early  age  of  eighteen.  The  seven  windows  of  the 
apse  are  of  great  double  height ; in  each  are  six 
subjects,  one  above  the  other ; in  the  upper  com- 
partments are  scenes  of  the  Passion,  in  the  others 
the  legend  of  Ste  Foy.  One  of  the  subjects  in 
the  East  window  is  St  George  and  the  Dragon, 


CONCHES  95 

a subject  also  to  be  seen  in  the  cathedral  at 
Chartres. 

In  the  nave  of  Conches  Church  there  are  fourteen 
genuine  old  windows,  and  one  modern  window  con- 
taining the  history  of  Melchizedek.  One  window  is 
dated  1540,  and  three  are  dated  1552.  They  all 
begin  so  low  down  that  they  are  easy  to  examine. 

The  first  window  on  the  North  side,  starting 
from  the  west,  is  filled  with  grisaille.  The  second 
is  a very  fine  window,  dated  1552,  containing  three 
large  figures  and  two  donors,  with  the  inscription 
Sancta  Maria  Dei  Genetrix  (Holy  Mary,  Mother 
of  God).  In  the  third  window  is  the  Presentation 
of  Christ  in  the  Temple.  The  fourth  window  has 
three  palaces,  one  being  the  Palace  of  Liesse 
(Delight).  The  fifth  window  contains  a lovely 
picture  of  the  Annunciation,  dated  1552.  It  has 
only  two  prominent  figures,  with  a pot  of  lilies 
in  the  centre,  and  the  Eternal  Father  above.  The 
sixth  window  has  a very  fine  Triumph  of  the 
Virgin,  with  one  very  white  figure ; the  subject 
of  this  window  is  sometimes  termed  the  Litany 
of  Our  Lady.  The  subject  of  the  seventh  and 
last  window  on  the  north  wall  is  the  Birth  of 
Christ. 

The  first  window  on  the  south  next  to  the  apse  is 
dated  1540.  The  second  contains  the  Last  Supper 
and  our  Saviour  treading  the  Wine-press.  At  the 
base  is  a woman  in  a very  unusual  black  robe 
watching  a corpse.  The  third,  dated  1552,  contains 
the  picture  of  the  Manna,  as  in  the  window  at 
Montfort  l’Amaury.  Beyond  this  is  the  modern 


96 


STORIED  WINDOWS 


window  of  Melchizedek.  The  two  windows  further 
west  have  been  much  restored.  The  subject  of  the 
first  of  these  is  St  John  the  Baptist.  Among  the 
finest  windows  in  Conches  are  those  which  contain 
the  Manna  in  a window  of  strong  colouring,  the 
Treading  of  the  Wine-press  by  our  Saviour,  the 
Litany  of  Our  Lady,  and  the  Annunciation. 

From  Conches  to  Sees  is  fifty-three  miles.  It  is 
wise,  if  possible,  to  avoid  sleeping  at  the  hotel  at 
Sees. 

In  Sees  Cathedral  there  is  excellent  glass  of  the 
early  part  of  the  fourteenth  century.  As  at  St 
Ouen  and  Evreux,  the  triforium  all  round  the 
church  is  glazed  with  grisaille.  The  nave  windows 
are  of  little  interest,  being  mostly  colourless.  The 
arrangement  of  the  windows  of  the  choir,  and  of 
the  apsidal  chapels,  resembles  that  of  St  Ouen,  in 
having  a central  band  in  each  window  of  large 
coloured  figures  with  bands  of  grisaille  decorated 
with  natural  foliage  above  and  below,  enclosed  within 
narrow  coloured  borders,  separated  from  the  stone 
by  a thin  margin  of  white  glass,  in  the  prevailing 
style  of  the  fourteenth  century.  The  tracery  is 
full  of  strong  deep  colour,  but  devoid  of  figures, 
except  in  the  tracery  of  the  East  window. 

There  are  nineteen  windows  in  the  clerestory 
of  the  choir  and  transepts,  of  which  ten  are  in 
the  transepts ; six  of  these  are  in  the  clerestory 
of  the  north  transept,  and  four  in  the  clerestory 
of  the  south  transept.  Besides  these,  in  the  north 
and  south  transept  are  great  Rose  windows,  with 
figures  in  the  lights  below.  The  tracery  of  the 


StiES 


97 


Bose  in  the  north  transept  is  of  a very  unusual 
shape,  having  a hexagon-shaped  pattern  in  the 
centre,  with  six  bands  projecting  from  it,  each 
containing  two  pictures,  the  whole  producing  the 
effect  of  a star  with  rays.  The  windows  below 
the  Eoses  are  formed  of  five  arches,  each  divided 
into  two  lights,  consequently  the  whole  window  con- 
tains ten  figures ; these  are  on  a blue  background ; 
the  borders  are  red  with  gold  castles ; the  canopies 
have  no  shafts. 

To  judge  by  the  outside  patina,  the  window 
under  the  Eose  of  the  north  transept  seems  to 
contain  very  little  new  glass,  but  that  of  the  south 
transept  appears  to  have  more  new  glass  than  old. 
The  south  transept  Eose  is  of  the  ordinary  wheel 
pattern.  Both  these  Eoses  are  linked  to  the  windows 
below  by  tracery,  so  as  to  form  one  complete  window 
with  a Eose  in  the  tracery,  like  the  great  window 
of  the  fifteenth  century  in  the  north  transept  of 
the  cathedral  of  Le  Mans.  In  the  north  transept 
of  Sees  there  is  a fine  series  of  Prophets,  which  are 
all  drawn  in  King’s  4 Study  Book  of  Mediaeval  Archi- 
tecture.’ 

In  the  choir  a very  rich  effect  is  produced  by 
the  two  bands  of  coloured  tracery  in  the  triforium 
and  clerestory,  and  the  central  band  of  coloured 
figures,  connected  by  coloured  borders  with  two 
bands  of  grisaille,  which  have  coloured  bosses  in 
the  centres ; and  in  many  cases  there  are  strips 
of  red  glass  framing  the  diamond- shaped  quarries, 
and  thus  forming  a brilliant  lattice-work  of  very 

G 


98 


STORIED  WINDOWS 


uncommon  appearance.  This  is  especially  notice- 
able in  the  first  and  second  windows,  both  of  the 
triforium  and  clerestory  on  entering  the  choir  of 
S£es  Cathedral. 

In  the  chapels  of  the  apse  the  figures  are  smaller 
than  those  in  the  clerestory  of  the  choir.  Nearly 
all  the  figures  have  small  coloured  canopies,  either 
without  shafts,  or  with  a shaft  consisting  of  a thin 
white  line  ending  in  a coloured  foot.  But  in  the 
two  apsidal  chapels  north  of  the  Lady  Chapel  there 
are  two  white  canopies  and  two  yellow  canopies 
with  regular  shafts.  These  are  set  on  plain  glazed 
quarries,  which  are  apparently  the  only  two  cases 
in  the  cathedral  of  Sees  of  plain  quarries  being 
used  in  place  of  grisaille.  In  the  chapel  to  the 
left  of  the  Lady  Chapel  is  a window  with  two 
donors,  each  of  whom  is  holding  his  window  in 
his  hands. 

In  the  Lady  Chapel  of  Sees  Cathedral  are  seven 
windows,  four  of  which  are  old,  but  the  three 
eastern  ones  are  modern.  The  centre  window  is 
dated  1895;  it  contains  a recent  Bishop  of  Sees 
offering  a window  to  Our  Lady. 

In  the  centre  of  the  second  apse  chapel  to  the 
south  of  the  Lady  Chapel  of  Sees  Cathedral  is  a 
modern  window  of  fourteenth-century  style,  with  a 
remarkable  anachronism.  In  the  left-hand  light  is 
a mounted  soldier  in  a helmet  of  chain-mail  of  the 
fourteenth  century.  His  white  lance  goes  right 
through  the  mullion  into  the  centre  light  to  pierce 
the  side  of  the  Crucified  Saviour.  Such  extension 
of  the  picture  from  one  light  into  the  next  did 


ALENQON  99 

not  begin  till  more  than  a hundred  years  later, 
well  on  in  the  fifteenth  century. 

Thirteen  miles  from  Sees  is  Alengon.  One  writer 
says  that  the  glass  at  Alengon  excels  that  of 
Grand  Andely.  Another  says  that  the  church 
contains  a good  amount  of  Late  Gothic  glass  of 
the  sixteenth  century.  In  the  face  of  these  state- 
ments, the  traveller  should  be  warned  not  to  expect 
too  much  at  Alengon,  or  he  will  certainly  be  disap- 
pointed. Most  of  the  glass  is  of  the  late  Renais- 
sance period  extending  into  the  seventeenth  century. 
One  window  is  dated  1624.  The  general  impression 
of  the  glass  is  poor.  But  there  is  a Jesse  tree  which 
is  described  by  Day  in  ‘ Windows,’  p.  365  (1st 
edition)  as  follows  : — 

“ Quite  one  of  the  most  beautiful  Jesse  trees  that 
exist  is  in  a Late  Gothic  window  at  Alengon.  It 
is  unusual,  probably  unique  in  design.  The  figures 
with  the  exception  of  Jesse  are  confined  to  the 
upper  lights  and  tracery,  forming  a double  row 
towards  the  top  of  the  window.  This  leaves  a 
large  amount  of  space  for  the  tree,  a fine,  fat, 
Gothic  scroll,  foliated  more  after  the  manner  of 
oak  than  acanthus  leaves,  all  in  rich  greens 
(yellowish,  apple,  emerald-like)  on  a greyish-blue 
ground.  It  forms  a splendid  patch  of  cool  colour, 
contrasting  in  the  most  beautiful  way  with  the 
figures,  draped  mostly  in  purple,  red,  and  yellow. 
The  figures  issue  from  great  flower-like  features 
as  big  as  the  width  of  the  light  allows,  mostly 
of  red,  or  purple,  or  white,  with  a calyx  in  green. 
The  Virgin  issues  from  a white  flower  suggestive  of 


100 


STORIED  WINDOWS 


the  lily.  A characteristic  feature  about  the  Alen§on 
window  is  the  absence  of  symmetry  in  its  scheme. 
Of  the  eight  lights  which  go  to  make  up  its  width 
only  three  are  devoted,  below  the  springing  of 
the  great  arch  over  it,  to  the  Jesse  tree.  Three 
of  the  other  lights  contain  a representation  of  the 
death  of  the  Virgin,  under  a separate  canopy,  and 
in  the  two  outermost  lights  are  separate  subjects 
on  a smaller  scale.  It  is  by  no  means  unusual  for  a 
Jesse  tree  window  to  occupy  only  one  half  or  one 
quarter  of  a large  Late  Gothic  window.” 

The  faces,  however,  of  this  Jesse  window  at 
Alenfon  are  very  indistinct,  and  the  window  itself 
is  so  placed  that  it  is  difficult  to  get  a clear  view 
of  it.  It  is  very  high  up  on  the  western  wall, 
so  that  it  requires  a field-glass  to  appreciate  the 
details.  Moreover,  it  is  obscured  by  the  crass 
stupidity  of  the  authorities,  who  have  so  little 
respect  for  their  famous  window  that  they  actually 
allow  it  to  be  partially  hidden  behind  some  carved 
wooden  ornaments  on  the  top  of  the  organ,  so  that 
it  is  impossible  to  see  the  window  as  a whole,  and 
it  is  necessary  to  dodge  about,  so  as  to  get  an 
unimpeded  sight  of  the  different  parts  behind  these 
disgusting  obstructions. 

On  the  way  from  Conches  to  Sees  it  is  worth 
while,  by  diverging  thirty  miles  from  Laigle,  to 
visit  Verneuil  and  Nonancourt,  both  of  which 
contain  much  good  glass  of  the  fifteenth  and  six- 
teenth centuries. 


101 


CHAPTER  XVII. 

THE  CATHEDRAL  OF  LE  MANS. 

Thirty-six  miles  south  of  Alen§on  is  Le  Mans,  the 
capital  of  the  old  province  of  Maine.  The  cathedral 
of  Le  Mans  was  almost  entirely  destroyed  by  the 
tremendous  fire  of  1134,  which  only  spared  the 
extreme  West  end,  out  of  the  whole  of  the  building 
of  the  eleventh  century. 

The  nave  was  promptly  rebuilt  and  consecrated 
in  1158.  The  present  choir  was  commenced  in 
1218  to  commemorate  the  reunion  of  Maine  to 
France  by  the  marriage  of  Louis  the  Eighth  with 
Blanche  of  Castille,  the  niece  of  King  John.  The 
choir  was  consecrated  in  1254.  The  south  transept 
was  built  in  the  fourteenth  century.  The  north 
transept  was  built  in  the  first  half  of  the  fifteenth 
century.  It  was  begun  in  1403  and  finished  about 
1450. 

The  cathedral  of  Le  Mans  is  remarkable  for  the 
number  and  beauty  of  its  windows.  But  in  the 
nave  most  of  the  windows  are  of  no  interest,  as  they 
are  all  modern,  with  the  conspicuous  exception  of 
the  nine  windows  at  the  western  end.  Of  these, 
three  are  on  the  west  wall  and  three  on  each  of 


102 


STORIED  WINDOWS 


the  north  and  south  walls.  These  nine  windows 
contain  some  of  the  finest  known  specimens  of  the 
very  earliest  extant  glass.  They  are  all  in  round- 
arched  windows  of  the  Romanesque  style  of  the 
eleventh  century. 

The  large  window  over  the  west  door  of  the 
cathedral  of  Le  Mans  contains  scenes  from  the 
life  of  St  Julian,  to  whom  the  Cathedral  is  dedi- 
cated. But  on  examination  from  the  outside  it  is 
obvious  that  the  great  central  figure  of  St  Julian 
is  quite  modern,  and  that  eleven  out  of  the  twenty- 
one  medallions  of  which  the  window  is  composed  are 
also  new,  as  well  as  nearly  the  whole  of  the  broad 
border  round  the  outside ; because  they  lack  the 
film  of  whitish  patina  which  coats  the  ancient  glass. 
The  pictures  in  the  west  window  are  arranged  in 
alternate  panels  and  medallions.  The  thick,  solid 
black  hair,  the  constrained  attitudes,  the  clinging 
drapery,  and  the  archaic  Byzantine  faces  are  very 
noticeable. 

On  each  side  of  this  window,  but  at  some  distance 
from  it,  are  two  small  windows  of  round-arched 
Romanesque  shape,  at  the  west  ends  of  the  north 
and  south  aisles.  These  two  windows  also  date 
from  the  twelfth  century.  They  contain  the  history 
of  St  Gervais  and  St  Protais.  The  northern  one 
has  a triple  border  with  Romanesque  white  strap- 
work.  The  border  of  the  southern  window  has  a 
modern  appearance.  One  of  these  two  windows  is 
described  and  illustrated  by  Westlake  in  vol.  i.  p.  13 
of  his  ‘ History  of  Design  in  Painted  Glass.’  But 
the  large  heads  in  his  lowest  medallion  are  gone. 


LE  MANS  CATHEDRAL. 

XIIth  Century  Medallion  at  the  Base  of  the  Window  of  St  Gervais 

and  St  Protais. 


The  face  on  the  left  has  been  restored. 


THE  CATHEDRAL  OF  LE  MANS  103 


On  the  north  wall  at  its  western  end  are  three 
windows  of  the  twelfth  century.  The  first  two  of 
these,  starting  from  the  west,  contain  scenes  from 
the  life  of  St  Stephen.  The  third  is  made  up 
of  some  beautiful  twelfth-century  medallions  and 
panels,  with  only  half  a border  at  the  top.  One 
of  the  scenes  in  this  window  is  the  Child  Jesus 
in  the  Temple  in  the  midst  of  the  Doctors.  At 
the  base  of  the  window  between  two  panels  is  a 
beautiful  little  piece  of  broad  Romanesque  border 
with  foliation,  and  with  a zigzag  pattern  on  the 
white  straps. 

Of  the  three  windows  at  the  western  end  of  the 
south  wall  of  Le  Mans  Cathedral,  the  centre  one  is 
the  celebrated  Ascension  window,  which  is  regarded 
as  the  oldest  glass  in  the  Cathedral,  and  some  of 
the  oldest  in  existence,  dating  from  about  1100. 
The  lower  half  of  this  window  is  filled  with  oblong 
panels  with  alternate  sapphire  and  ruby  back- 
grounds, containing  the  figures  of  the  Twelve 
Apostles  and  the  Virgin  in  the  centre,  steadfastly 
gazing  upwards  in  the  direction  of  what  must 
originally  have  been  a representation  of  the  Ascen- 
sion. Unfortunately,  the  upper  part  is  not  only 
quite  modern,  but  it  is  also  entirely  unsuitable. 
Instead  of  the  window  being  crossed  by  the  straight 
saddle -bars  of  the  twelfth  century,  it  contains  a 
medallion  of  our  Lord  which  is  enclosed  in  a circu- 
lar frame  of  solid  iron.  This  mass  of  iron  entirely 
prevents  those  below  from  seeing  their  ascending 
Lord.  Besides,  such  a frame,  shaped  to  the  medal- 
lion, is  more  than  a century  later  in  style  than  the 


104 


STORIED  WINDOWS 


window  of  the  end  of  the  eleventh  century,  for 
such  shaping  is  entirely  confined  to  the  thirteenth 
century.  The  border  of  the  window  appears  to  be 
modern,  as  might  be  expected  from  the  fact  that 
this  old  glass  was  formerly  scattered  about  among 
different  windows.  The  scattered  fragments  were 
only  discovered  and  put  together,  about  1850,  by 
the  glass  painter  Gdrente.  The  Apostles  have  the 
solid  black  hair  and  the  stiff  Byzantine  faces, 
figures,  and  attitude,  with  the  clinging  drapery 
characteristic  of  the  glass  pictures  of  the  twelfth 
century.  The  central  figure  of  the  Virgin  is  ex- 
tremely striking  and  beautiful.  All  the  faces  are 
of  a brownish  pink  tint.  This  window  is  illustrated 
and  described  by  Westlake  in  vol.  i.  pp.  6-10. 

In  the  window  next  to  the  Ascension  window  on 
the  east  is  a splendid  Byzantine  half-length  figure 
of  Christ,  between  Alpha  and  Omega,  which  looks 
quite  as  old  as  the  panels  in  the  Ascension  window. 
Below  the  Christ,  in  the  fine  central  medallion,  are 
four  figures,  and  in  the  medallion  below  this  are 
two  angels.  The  third  ancient  window  on  the 
south  wall  is  placed  to  the  right  of  the  Ascension 
window;  this  is  also  made  up  of  different  subjects 
from  ancient  windows,  and  it  has  Romanesque  strap- 
work  in  the  border. 

The  choir  of  the  cathedral  of  Le  Mans  has  the 
very  unusual  peculiarity  of  having  a double  row 
of  clerestory  windows  above  the  triforium.  Each 
of  these  rows  contain  thirteen  windows. 

The  extra  windows  which  form  the  lower  row, 
just  above  the  triforium,  all  contain  either  three 


THE  CATHEDRAL  OF  LE  MANS  105 


or  five  lights.  These  windows  are  beautiful  in 
colour  but  rather  squat  in  shape.  With  the  ex- 
ception of  the  East  window,  they  are  filled  with 
medallions.  All  the  glass  belongs  to  the  latter 
part  of  the  thirteenth  century.  The  East  window 
of  the  lower  row  in  Le  Mans  Cathedral  has  a large 
figure  of  the  Virgin  crowned,  with  Jesus  on  her 
knee,  in  the  centre  light.  The  faces  are  so  dark 
as  to  be  almost  black,  but  the  colours  of  the  ruby 
and  sapphire  and  the  yellow  pot-metal  are  splendid. 
Below  the  Virgin  is  the  donor,  in  a red  coat  of 
arms  on  which  are  two  golden  leopards,  holding 
a window.  In  the  two  side  lights  of  the  East 
window  of  the  lower  row  of  clerestory  windows 
are  figures  of  St  Gervais  and  St  Protais,  on  a 
ground  covered  with  fleurs-de-lis . 

The  first  window  of  the  lower  row,  on  the  north 
side  on  entering  the  choir  of  Le  Mans,  has  five 
lights  containing  the  lives  of  St  Peter,  St  Denis, 
St  Julian,  St  Stephen,  St  John,  St  Catherine,  St 
Vincent,  and  others.  At  the  top  of  the  third  light 
is  shown  the  donor,  Guillelmus  Rolandi,  the  Bishop 
of  Le  Mans  from  1255  to  1258.  The  second 
window  is  also  the  gift  of  Guillaume  Roland, 
and  contains  episodes  of  the  lives  of  St  Martin, 
St  Lazarus,  Mary  Magdalene,  St  Martha,  St  Ag- 
atha, St  Lucy,  St  Agnes,  and  St  Gervais,  and 
St  Protais. 

The  third  has  St  Julian’s  story  in  four  lights  and 
Jesus  in  the  fifth. 

The  fourth  has  several  legends,  including  that  of 
Theophile. 


106 


STORIED  WINDOWS 


The  fifth  contains  the  history  of  St  Paul  and  the 
life  of  the  Virgin. 

The  sixth  has  the  legend  of  St  Innocent,  Bishop 
of  Le  Mans,  and  the  martyred  deacon  St  Gervais. 

The  seventh  window  is  the  central  East  window 
of  the  lower  row. 

Beyond  the  East  window,  the  first  on  the  south 
has  the  legend  of  St  Eustache  in  twenty-five  medal- 
lions. The  second  on  the  south  has  the  story  of 
the  Virgins  Burial,  Assumption,  and  Coronation, 
and  the  scenes  after  the  Resurrection,  and  in  the 
third  light  the  legend  of  St  Calais. 

The  third  from  the  east  on  the  south  side  in- 
cludes a life  of  St  John  the  Baptist,  Adam  and  Eve, 
and  the  legend  of  St  Nicolas. 

The  fourth  has  the  life  of  St  Julian,  St  Peter,  and 
St  Paul,  Pope  Innocent  IV.  (who  died  in  1254),  the 
Emperor  Constantine,  and  scenes  from  the  life  of 
Jesus. 

The  fifth  has  the  life  of  the  Virgin,  a Jesse  tree, 
the  Vidame  Theophile,  and  the  Jewish  child  of 
Bourges. 

The  last  window  next  to  the  south  transept  con- 
tains the  praise  of  Mary  and  the  legend  of  the 
painter  Theophile. 

In  the  upper  row,  or  clerestory  proper  of  the 
cathedral  of  Le  Mans,  six  of  the  windows  on  each 
side  contain  in  each  light  two  large  figures,  one 
above  the  other,  of  Apostles  and  Bishops  of  Le 
Mans.  In  the  second  window  on  the  north  side 
on  entering  from  the  west  is  a donor  offering  a 
window  inscribed  3ol)es  he  jjteneto,  i.e.,  Jean  de 


THE  CATHEDRAL  OF  LE  MANS  107 


Fresnay.  Above  him  are  the  Apostles  St  Philip 
and  St  James,  whose  name  is  inscribed  on  a hori- 
zontal band. 

The  fourth  window  on  the  north  side  of  the 
clerestory  of  the  choir  is  inscribed  Ha  Rerrttie  & 
©raptetS,  being  given  by  the  Drapers’  Guild  of  Le 
Mans.  The  Dean  of  the  Drapers’  Guild,  clad  in  a 
coat  partly  of  green,  but  chiefly  of  a fine  dark 
brownish  purple  lined  with  fur,  holds  a window  in 
his  hand. 

The  fifth  window  was  the  gift  of  the  Furriers. 

The  sixth  window  was  apparently  given  by  the 
Innkeepers. 

The  East  window  of  the  upper  row  contains 
figures  of  Christ  on  the  Cross,  and  the  Virgin  and 
Child.  The  borders  of  the  East  window  are  broken 
by  eight  shields,  two  on  each  side  of  the  two  lights. 
All  these  shields  have  the  same  device,  a gold  band 
across  a red  ground.  This  is  the  shield  of  the 
donor  of  the  window,  Geoffrey  de  Loudun,  Bishop 
of  Le  Mans,  who  consecrated  the  reconstructed  choir 
in  1254.  Below  the  Virgin  is  a figure  of  Geoffrey 
de  Loudun  in  a gold  chasuble.  The  same  donor 
reappears  in  the  second  light,  having  exchanged 
his  gold  chasuble  for  a violet  one. 

The  first  window  south  of  the  East  window  was 
given  by  the  Architects. 

The  last  five  windows  on  the  south  side  con- 
tain figures  of  Saints  who  were  Bishops  of  Le 
Mans. 

The  fourth  from  the  western  end  is  inscribed  Ha 
Ferrier  lEccleg*  It  was  given  by  the  clergy. 


108 


STORIED  WINDOWS 


The  third  from  the  end  was  destroyed  by  a violent 
storm  in  1810,  and  is  filled  with  modern  glass. 

The  last  but  one  was  given  by  the  Players  of 
draughts  and  backgammon. 

The  last  on  the  south-west  was  given  by  the 
Bakers,  who  are  represented  as  engaged  in  baking. 
In  the  clerestory  windows  on  the  south  side  of  the 
choir  are  three  splendid  patches  of  emerald  green. 

A special  feature  of  Le  Mans  Cathedral  is  the 
unusually  large  number  of  chapels  round  the  am- 
bulatory of  the  choir.  There  are  thirteen  of  these 
chapels,  including  the  Lady  Chapel  and  the  sacristy. 
These  chapels  are  also  extremely  deep,  extending 
back  about  23  feet,  so  that  they  almost  entirely 
hide  their  windows  from  the  observer  in  the 
Cathedral. 

In  the  chapels  on  the  north  side  many  of  the 
windows  are  glazed  with  plain  white  quarries,  in 
patterns  formed  by  the  enclosing  lead,  but  they 
have  coloured  borders. 

Many  of  the  chapels  both  on  the  north  and 
south  side  of  the  ambulatory  of  the  choir  contain 
grisaille  windows,  very  varied  in  pattern  and  ex- 
tremely beautiful,  with  the  coloured  borders  of  the 
fourteenth  century.  In  the  first  chapel  next  to 
the  north  transept  is  a Rose  window  with  six  lobes, 
containing  glass  of  the  thirteenth  century,  depicting 
Jesus  surrounded  by  six  doves,  with  the  seventh 
on  His  knee,  typifying  the  sevenfold  gifts  of  the 
Holy  Ghost. 

In  the  fourth  chapel,  dedicated  to  St  Joseph,  the 
first  window  on  the  right  contains  a picture  of  St 


THE  CATHEDRAL  OF  LE  MANS  109 


Anne  and  the  Virgin,  of  the  second  half  of  the 
fifteenth  century. 

The  glass  in  the  Lady  Chapel  of  Le  Mans 
Cathedral  is  as  great  a deception  as  the  glass  in 
the  west  window,  in  respect  of  the  amount  of  new 
glass  which  it  includes.  For  out  of  eleven  windows 
only  five  contain  any  old  glass  of  the  thirteenth 
century,  the  rest  being  all  modern.  In  the  first 
window,  on  the  north  side  to  the  left  on  entering 
the  Lady  Chapel,  there  is  modern  glass  in  the  first 
light,  but  the  second  light  contains  a fine  Jesse  tree 
of  the  thirteenth  century,  a good  deal  restored.  The 
second  window  is  all  modern.  The  third  window, 
also  restored,  contains  the  life  of  the  Virgin  Mary. 
The  fourth  window  is  all  modern.  The  fifth  win- 
dow is  half  ancient  and  half  modern ; it  contains 
the  earlier  life  of  Christ. 

The  sixth  or  East  window  of  the  Lady  Chapel  is 
all  ancient,  but  it  has  been  so  thoroughly  cleaned 
as  to  resemble  a modern  window  at  first  sight. 
This  is  one  of  the  Biblia  Pauperum  windows  which 
taught  Scripture  history  when  printing  was  un- 
known and  few  could  read.  It  closely  resembles 
the  famous  window,  the  gift  of  the  Butchers,  at 
Bourges,  which  is  described  and  illustrated  by  the 
Jesuit  Fathers,  Martin  and  Cahier,  in  their  magni- 
ficent monograph  on  the  cathedral  of  Bourges. 
They  consider  that  these  windows  record  the  sub- 
stitution of  Gentiles  for  Jews  by  the  Cross,  or  “The 
Nations  admitted  to  the  New  Alliance.”  There 
are  three  other  “Nouvelle  Alliance”  windows  at 
Chartres,  Tours,  and  Sens,  and  one  formerly  existed 


110 


STORIED  WINDOWS 


among  the  twelve  Biblia  Pauperum  windows  at 
Canterbury,  of  which  only  two  now  remain. 

This  Nouvelle  Alliance  window  at  Le  Mans  is 
illustrated  in  Westlake,  vol.  i.  p.  123,  and  in 
Huchers  splendid  folio,  ‘ Caiques  des  Vitraux  peints 
de  la  Cathedrale  du  Mans/  The  central  medallions 
contain  the  Carrying  of  the  Cross,  the  Crucifixion, 
and  the  Resurrection.  The  side  medallions  contain 
Old  Testament  types  connected  with  the  pictures 
in  the  central  medallions.  Those  which  especially 
bear  upon  the  New  Alliance  are  the  preference  of 
Joseph’s  younger  son  Ephraim  ( i.e .,  Gentiles),  to 
the  elder  Manasseh  (Genesis  xlviii.  1-19),  Elijah 
and  the  Gentile  woman  of  Zarephath  (Luke  iv.  27), 
and  Elisha  raising  the  son  of  the  Shunammite 
woman.  The  Le  Mans  window  has  lost  its  two 
lowest  panels,  but  the  two  lowest  panels  of  the 
window  at  Bourges  contain  Abraham  and  Isaac, 
implying  the  admission  of  the  Gentiles  by  the 
prophecy : “ in  thy  seed  shall  all  the  nations  of 
the  earth  be  blessed.”  Other  medallions  contain 
Moses  striking  the  rock,  the  Brazen  Serpent,  the 
Blood  of  the  Paschal  Lamb  on  the  Lintel,  Jonah 
issuing  from  the  Whales  mouth,  a Pelican  and 
King  David,  and  the  Lions  of  Judah. 

All  the  remaining  windows  of  the  Lady  Chapel 
of  Le  Mans  are  modern,  but  the  ninth  contains 
some  fragments  of  glass  of  the  thirteenth  century. 

In  the  Chapel  of  St  Louis,  next  to  the  Lady 
Chapel  on  the  south  to  the  right,  are  two  windows, 
half  of  which  are  filled  with  thirteenth-centurv 

•f 

glass.  In  the  window  on  the  left  is  the  story  of 


THE  CATHEDRAL  OF  LE  MANS  111 


St  Nicolas,  including  the  ever  popular  tale  of  the 
resuscitation  of  the  three  youths  murdered  by  the 
innkeeper,  which,  as  Male  points  out,  is  not  recorded 
in  the  ‘ Golden  Legend.’  In  the  window  on  the  right 
is  the  legend  of  St  Eloi,  who  in  one  picture  is  grip- 
ping the  snout  of  a discomfited  green  demon  with 
long  pincers. 

In  the  west  wall  of  the  north  transept  of  Le 
Mans  Cathedral  are  two  small  windows  below  the 
triforium,  of  four  lights  each,  having  the  original 
glass  of  the  fifteenth  century  in  which  this  transept 
was  built. 

In  the  first  light  of  the  first  of  these  two  windows 
is  a bust  of  a bishop  of  the  thirteenth  century.  In 
the  second  light  is  a female  saint  in  a very  splendid 
robe.  In  the  third  light  a canon,  who  is  praying,  is 
being  presented  as  donor  by  St  John  the  Baptist. 
In  the  fourth  light  is  a Virgin  on  white  glass.  In 
the  second  of  these  two  small  windows  is  St  James 
in  the  first  light,  and  St  John  in  the  second,  but  his 
head  has  disappeared  and  been  replaced  by  the  head 
of  a Virgin.  In  the  third  light  is  a saint  presenting 
two  kneeling  donors.  The  fourth  light  contains  St 
Martha  enchaining  the  Tarasque. 

The  rest  of  the  transept  windows  are  filled  with 
grisaille  surrounded  by  coloured  borders,  with  the 
exception  of  the  great  fifteenth-century  window 
above  the  north  portal  of  the  cathedral  of  Le 
Mans. 

This  magnificent  window  illustrates  the  consider- 
able difference  between  French  and  English  windows 
of  the  fifteenth  century.  Just  as  in  France  the 


112 


STORIED  WINDOWS 


Flamboyant  style  of  architecture  did  not  begin  so 
early  as  the  English  Perpendicular  style  of  the  same 
period,  so  the  change  from  the  style  of  the  glass 
of  the  fourteenth  century  was  much  more  gradual 
than  in  England.  The  larger  amount  of  light  and 
sunshine  in  the  French  atmosphere  seems  to  have 
prevented  French  glaziers  from  employing  such  a 
large  proportion  of  white  and  so  little  bright  colour 
as  is  generally  found  in  English  windows  of  the 
fifteenth  century.  For,  although  in  this  window 
there  is  a great  deal  of  white  in  the  canopies  and 
faces,  yet  the  backgrounds  and  drapery  are  almost 
entirely  composed  of  bright  coloured  glass,  blue, 
green,  yellow,  ruby,  brownish-purple,  and  violet. 

This  window,  which  is  one  of  the  largest  and 
grandest  of  all  fifteenth-century  windows,  is  com- 
posed of  an  immense  Rose  at  the  top,  connected  by 
tracery  with  the  double  window  below  in  such  a 
way  that  it  forms  one  complete  undivided  whole, 
in  which  the  Rose  is  an  integral  part  of  the  tracery. 
In  this  enormous  window  there  are  one  hundred 
and  twenty-six  subjects. 

The  great  Rose  portrays  the  Coronation  of  the 
Virgin,  and  the  Last  Judgment.  Between  the 
spokes  of  the  Rose  are  twenty-four  elongated  white 
figures  with  little  colour.  Below  the  Rose  are  four 
circles,  each  containing  a pair  of  curiously  contorted 
white  figures. 

The  two  lower  windows  are  subdivided  by  two 
arches,  in  each  of  which  are  two  lights,  so  that  the 
whole  contains  eight  subdivisions  in  all.  The 
tracery  at  the  head  of  each  of  the  four  arches 


THE  CATHEDRAL  OF  LE  MANS  113 


contains  a figure.  In  the  rectangular  part  of  the 
window  are  eight  large  white  canopies ; below 
each  canopy  are  three  great  figures,  so  that  there 
are  twenty-four  figures  in  the  whole  of  the  rect- 
angular part  of  the  window.  All  the  faces  are 
white,  but  in  many  cases  the  hair  is  yellow.  In 
the  uppermost  compartments  are : Abraham,  Noah, 
Moses,  and  David,  with  Biblical  inscriptions.  Next 
to  these  are  the  Apostles,  each  carrying,  in  fifteenth- 
century  fashion,  a sentence  of  the  creed. 

Below  the  Apostles  are  portraits.  The  first  two 
are  Bishops,  the  third  is  St  Louis  with  an  azure 
robe  covered  with  gold  fleurs-de-lis,  like  the  robe  of 
St  Denis  at  Evreux.  The  fourth  is  a Canon,  the 
fifth  is  Adam  Chastelain,  Bishop  of  Le  Mans,  ap- 
pointed in  1398,  the  sixth  is  Cardinal  Fillastre, 
the  seventh  Louis  III.  of  Anjou,  King  of  Sicily 
who  died  in  1434,  or  his  brother  King  Rene,  and 
the  last  three  are  Louis  II.,  Duke  of  Anjou  and 
King  of  Sicily,  and  his  mother  Marie  of  Blois  and 
his  wife  Yolande  of  Aragon,  who  died  in  1442, 
having  survived  her  husband  for  twenty-five  years. 
But  the  head  of  Marie  of  Blois,  mother  of  Louis  II., 
has  been  lost  and  replaced  by  a carefully  exact 
modern  copy  of  the  ancient  glass  head  of  his  wife 
Yolande  of  Aragon.  Behind  these  three  figures 
may  be  noticed  the  damask  curtain  or  screen  em- 
ployed as  a background  in  the  fifteenth  century. 
Though  this  window  is  a noble  example  of  the 
finest  work  of  the  fifteenth  century,  yet  the  colour, 
however  bright,  seems  rather  washed-out  when 

H 


114 


STORIED  WINDOWS 


compared  with  the  thirteenth-century  glass  in  the 
choir.  This  is  partly  due  to  the  excessive  amount 
of  white  light  let  in  by  the  grisaille  windows  of 
the  transept,  and  partly  to  the  lack  of  the  shadows 
formerly  produced  by  the  black  cross-hatching  and 
the  strong  tracing  lines  of  the  thirteenth  century. 
The  thirteen  Apostles  and  the  ten  portraits  are 
beautifully  illustrated  by  Hucher.  This  window 
dates  from  before  1430,  consequently  it  contains 
none  of  the  abrasion  of  flashed  glass  to  show  the 
white  beneath,  which  came  into  use  about  the 
middle  of  the  fifteenth  century. 

When  at  Le  Mans  it  is  highly  advisable  to  make 
an  excursion  sixty  miles  south-west  into  Anjou,  to 
visit  the  cathedral  of  Angers,  which  is  extra- 
ordinarily rich  in  fine  old  glass  of  all  periods,  but 
especially  of  the  twelfth  century. 


115 


CHAPTER  XVIII. 

ST  PIERRE,  CHARTRES. 

From  Le  Mans  to  Chartres  is  a railway  journey  of 
seventy-six  miles.  Chartres  is  also  very  accessible 
from  Paris ; the  distance  being  only  fifty-five  miles. 

In  the  street  leading  south  from  the  Cathedral 
good  tea  can  be  obtained  at  a confectioner’s  shop 
kept  by  a chef  who  has  been  employed  in 
England. 

At  Chartres  is  the  splendid  church  of  St  Pierre, 
which  would  enjoy  great  and  well-merited  fame  in 
any  other  town,  but  the  glass  in  the  Cathedral  kills 
all  other  in  its  neighbourhood.  Consequently  to 
appreciate  St  Pierre  fairly,  it  is  wise  to  see  it  before 
visiting  the  Cathedral.  The  first  impression  on 
entering  St  Pierre  is  of  gaily  coloured  glass,  with 
just  enough  stone  to  frame  it  substantially.  The 
whole  effect  of  the  church  is  to  produce  the  feeling 
of  a well-lighted  building  of  bright  and  rich  but 
not  deep  colour. 

About  six  years  ago  the  dispersed  fragments  of 
the  windows  were  carefully  collected  and  put  into 
their  proper  places. 


116 


STORIED  WINDOWS 


Of  the  windows  in  St  Pierre,  Count  Ferdinand  de 
Lasteyrie,  in  his  ‘Histoire  de  la  Peinture  sur  Yerre/ 
p.  40,  says : “ The  glass  in  the  choir  may  be 
attributed  to  the  Abbot  Etienne  the  First,  of  1172- 
1193,  who  put  in  the  most  ancient  glass  that  can 
be  seen  in  St  Pierre  to-day.”  As  these  words 
occur  in  the  chapter  on  the  glass  of  the  Twelfth 
century,  he  seems  to  consider  that  the  windows 
in  the  choir  were  put  in  before  the  end  of  the 
twelfth  century,  and  certainly  some  of  the  glass 
has  a very  ancient  appearance.  The  original  choir 
was  begun  about  1150.  The  nave  was  built  be- 
tween 1210  and  1225.  About  forty  years  later, 
towards  the  end  of  the  reign  of  St  Louis,  the 
present  choir  was  built  in  place  of  the  original 
one,  and  apparently  the  twelfth-century  glass  was 
replaced  in  the  new  choir. 

In  the  clerestory  of  the  nave  of  St  Pierre, 
Chartres,  are  twelve  large  windows  on  each 
side. 

On  the  north  side,  beginning  from  the  west,  six 
of  the  windows  contain  Apostles  in  pairs.  Of  the 
other  six,  the  third  and  fourth  contain  the  story 
of  St  John  the  Baptist.  The  seventh  and  eighth 
contain  the  history  of  St  Peter.  The  eleventh  and 
twelfth  contain  the  life  of  Christ  from  the  Entry 
into  Jerusalem  till  the  Last  Judgment. 

The  twelve  windows  in  the  clerestory  on  the 
south  side  of  the  nave  contain  personages  of 
ecclesiastical  history.  In  the  third  from  the  west 
is  the  legend  of  St  Agnes,  and  in  the  fourth  is  the 
legend  of  St  Catherine. 


ST  PIERRE,  CHARTRES 


117 


The  eleventh,  in  the  south  clerestory  of  the  nave, 
contains  the  story  of  St  Joachim  and  St  Anne  and 
the  Virgin  Mary,  till  her  marriage  with  Joseph, 
whose  rod  budded,  as  in  the  window  in  Chalons. 

The  twelfth  includes  the  Annunciation,  Visita- 
tion, Birth  of  Christ,  Adoration  of  the  Magi, 
Presentation,  and  death  of  the  Virgin. 

The  side  windows  of  the  choir  of  St  Pierre  con- 
tain forty  Patriarchs,  Prophets,  and  other  personages 
of  the  Old  Testament,  but  only  six  of  them  have 
names. 

The  six  windows  of  the  apse  belong  to  the  four- 
teenth century,  and  are  the  most  brilliant  in  the 
church  both  in  design  and  colour.  Each  of  them 
contain  four  full-sized  figures  of  Bishops  and 
Apostles.  Above  each  are  three  quatrefoils,  of 
which  the  two  lower  contain  scenes  of  martyrdom, 
and  the  top  one  has  an  angel  holding  a martyr's 
crown  in  each  hand. 

Eighteen  of  the  windows  of  St  Pierre,  Chartres, 
have  the  very  unusual  arrangement  of  bands  of 
figures,  with  bands  of  grisaille  in  alternate  lights, 
extending  vertically  from  top  to  bottom  of  the 
window.  In  several  of  these  windows  there  is 
peculiar  economy  of  design,  for  there  are  two 
figures  of  the  thirteenth  century  one  above  the 
other,  with  a medallion  or  panel  between  them, 
both  of  wThich  figures  are  exactly  alike,  but  with 
dresses  of  entirely  different  colours. 

The  enormous  fourteenth-century  windows  in 
the  clerestory  of  the  nave  are  very  striking,  and 
some  people  would  find  in  the  light  bright  colour 


118 


STORIED  WINDOWS 


a refreshing  contrast  to  the  darkness  of  the  nave 
of  the  Cathedral. 

The  fourteenth-century  windows  in  St  Pierre 
rival  those  in  the  clerestory  of  Evreux,  but  they 
are  not  dated  so  completely  by  the  names  of  the 
donors. 

The  fourth  window  from  the  west,  on  the  north 
side  of  the  clerestory  of  the  nave,  has  a kneeling 
donor  with  a crozier  inscribed  3eau  he  JHanteg. 
This  is  a window  of  1307,  containing  forty-two 
figure  subjects  in  seven  rows  of  very  strong  colour. 
Jean  de  Mantes  is  stated  in  4 Gallia  Christiana  ’ to 
have  appealed  as  Abbot  of  St  Pierre  to  Pope 
Clement  V.  in  1307. 

In  the  six  apse  windows  of  St  Pierre,  Chartres, 
each  of  the  lower  canopies  ends  in  a turret  of 
alternate  ruby  and  sapphire,  with  a central  window 
in  the  turret  of  alternate  yellow  and  white,  with 
two  small  figures  (perhaps  angels)  on  each  side. 
They  all  have  richly  coloured  borders  and  coloured 
canopies. 

The  triforium  of  the  apse  is  also  glazed.  It 
contains  Renaissance  glass  of  1527  by  Robert 
Pinaigrier,  but  in  a very  fragmentary  state. 

The  lower  windows  are  modern.  But  in  the 
chapels  of  St  Anne  and  St  Joseph  there  are  some 
windows  of  the  fifteenth  century  in  a poor  state. 

The  visitor  should  not  fail  to  see  the  splendid 
Limoges  enamels  by  Leonard  Limousin  of  the 
twelve  Apostles.  They  came  from  the  Chateau 
d’Anet,  and  were  given  by  Henri  Deux  to  Diane 
de  Poitiers. 


119 


CHAPTER  XIX. 

CHARTRES  CATHEDRAL. 

The  cathedral  at  Chartres  is  the  most  beautiful 
Cathedral  in  France,  and  contains  the  finest  assem- 
blage of  thirteenth-century  glass  in  the  world. 
The  windows  are  the  most  impressive  that  can 
be  found  in  any  church.  On  entering  from  the 
Porte  Royale  at  the  west  into  the  semi-darkness 
of  the  nave,  the  lines  of  Milton  in  “ II  Penseroso  ” 
are  fully  realised.  For  here,  if  anywhere,  are 

“ Storied  windows  richly  dight, 

Casting  a dim  religious  light.” 

After  the  great  fire  of  1194,  which  destroyed  the 
whole  Cathedral  with  the  exception  of  the  west 
wall,  the  Cathedral  was  entirely  rebuilt  in  half  a 
century.  The  beauty  of  the  structure  is  partly  due 
to  the  extreme  rapidity  with  which  it  was  rebuilt, 
which  resulted  in  great  unity  and  simplicity  of 
style  and  homogeneity  of  design.  But  most  of  the 
beautiful  effect  is  due  to  the  completeness  with 
which  the  Cathedral  is  filled  with  50  roses  and  125 
tall  windows  of  the  twelfth  and  thirteenth  centuries, 


120 


STORIED  WINDOWS 


containing  in  all  3889  figures.  For  the  aisles  and 
the  clerestory  of  the  nave,  and  the  transepts,  and 
the  ambulatory  are  even  more  completely  filled 
with  thirteenth-century  glass  than  the  choir,  pro- 
ducing a remarkable  feeling  of  solemn  and  mys- 
terious grandeur. 

To  get  a clear  first  impression  of  the  splendour  of 
Chartres  Cathedral  it  is  best  to  enter  by  the  portal 
of  the  south  transept  and  proceed  straight  to  the 
centre  and  then  first  look  west,  down  the  double 
line  of  aisle  and  clerestory  windows  in  the  nave,  to 
the  three  magnificent  twelfth-century  windows,  with 
the  Rose  above  them,  over  the  Porte  Royale ; next, 
to  turn  north,  and  afterwards  south,  to  the  great 
Roses  of  the  two  transepts,  with  the  noble  windows 
below  them ; and  lastly,  east,  to  the  lovely  apse 
clerestory  of  the  choir,  with  glimpses  of  the  tall 
windows  round  the  ambulatory. 

The  three  West  windows  in  Chartres  Cathedral, 
although  they  are  half  a century  later  in  date  than 
the  oldest  in  Le  Mans,  are  the  finest  extant  windows 
of  the  twelfth  century.  The  window  to  the  right, 
north  of  the  central  one,  has  a magnificent  Jesse 
tree,  giving  the  genealogy  of  Christ,  the  arrange- 
ment of  which  is  well  described  by  Day  in 
‘Windows/  p.  369  (1st  edition),  as  follows: — 

“At  the  base  is  the  recumbent  figure  of  Jesse; 
the  straight  stem  of  the  tree,  proceeding  from  him, 
is  almost  entirely  hidden  by  a string  of  figures,  one 
above  the  other,  occupying  the  centre  part  of  the 
window,  and  represented  as  Kings  ; above  them  sits 
the  Virgin,  also  crowned ; and  in  the  arch  of  the 


CHARTRES  CATHEDRAL 


121 


window  sits  our  Lord  in  Majesty,  surrounded  by 
seven  doves,  to  signify  the  gifts  of  the  Spirit. 
It  is  not  perhaps  quite  clear  upon  what  those  figures 
sit.  They  hold  on  with  both  hands  to  branches  of 
highly  conventional  Romanesque  foliage,  springing 
from  the  main  stem,  and  occupying  the  space  about 
the  figures  in  very  ornamental  fashion.  A series  of 
half  medallions  on  each  side  of  this  central  design 
contain  little  figures  of  attendant  prophets,  in  a 
sense  the  spiritual  ancestors  of  the  Saviour.  All 
this  is  in  the  deepest  and  richest  Mosaic  colour  in 
the  beautiful  bluish  Jesse  window,  at  the  west  end 
of  the  cathedral  at  Chartres,  which  belongs  to  about 
the  middle  of  the  twelfth  century.”  In  this  window 
are  four  crowned  kings  of  Byzantine  type  in  the 
centre,  being  a very  arbitrary  selection  of  the 
ancestors  of  Christ.  On  each  side  of  the  window 
are  seven  prophets.  The  tree  of  Jesse  is  of  the 
same  date  as  the  one  in  the  East  window  of  the 
Abbey  of  St  Denis,  which  was  given  by  the  Abbot 
Suger,  whose  quaint  little  portrait,  in  a brown 
gown,  with  bare  feet  projecting  beyond  the  border 
of  the  medallion,  is  still  to  be  seen  in  the  next 
window  to  the  left,  north  of  the  East  window  of  St 
Denis.  Merson,  in  ‘ Les  Vitraux,’  p.  32,  points  out 
that  these  two  Jesse  trees  are  so  much  alike  that 
they  appear  to  have  been  made  from  the  same  car- 
toon. This  economy  of  design  is  found  in  many 
places,  such  as  St  Remi,  Reims,  St  Urbain,  Troyes, 
and  St  Pierre,  Chartres.  The  resemblance  of  these 
two  Jesse  trees  is  one  of  the  many  reasons  for 
believing  that  all  the  twelfth-century  glass  in  the 


122 


STORIED  WINDOWS 


west  of  France  was  made  by  artists  of  the  school 
of  St  Denis.  This  Jesse  window  is  illustrated  by 
Westlake  in  vol.  i.  p.  20. 

The  great  central  West  window  of  Chartres 
Cathedral,  which  is  33  feet  high,  contains  twenty- 
seven  panels  between  the  straight  saddle-bars,  with 
scenes  from  the  earlier  life  of  Christ.  At  the  top 
is  the  Virgin  and  Child.  The  broad  border  of  this 
window  is  extremely  fine. 

The  third  West  window  of  the  twelfth  century,  to 
the  south  of  the  centre,  contains  scenes  from  the 
later  life  of  Christ,  beginning  with  the  Transfigura- 
tion, and  ending  with  the  Breaking  of  Bread  at 
Emmaus.  The  figures  in  this  window  are  of  a 
striking  Byzantine  appearance. 

The  Western  Rose,  above  the  three  windows  of 
the  twelfth  century,  contains  a Doom  or  representa- 
tion of  the  Last  Judgment,  in  which  Jesus  is  seated 
in  the  clouds,  with  streams  of  blood  flowing  from 
his  five  wounds.  He  is  surrounded  by  Apostles, 
Angels,  and  the  four  Beasts.  The  dead  are  issuing 
from  tombs  on  right  and  left.  St  Michael  is 
weighing  the  Souls.  Some  are  being  conducted 
by  angels  into  Abraham’s  bosom ; others  are  being 
taken  by  fearful  demons  to  the  yawning  mouth 
of  Hell. 

The  great  clerestory  windows  run  all  round  the 
cathedral  of  Chartres,  including  the  two  transepts. 
Of  these  windows  there  are  sixty-eight  in  pairs, 
each  pair  being  surmounted  by  a rose  eighteen  feet 
in  diameter. 

In  the  nave,  starting  from  the  west,  there  is  a 


CHARTRES  CATHEDRAL 


123 


complete  double  line  of  aisle  and  clerestory  win- 
dows, all  of  the  thirteenth  century,  except  the  glass 
in  the  Chapelle  Vendome. 

The  lower  line  in  the  walls  of  the  aisle  of  eleven 
windows  is  filled  with  panels  and  medallions  of 
deep  intense  colour,  in  which  ruby  and  sapphire 
predominate.  Each  window  is  encircled  by  a broad 
border  of  rich  colour,  and  each  medallion  has  a 
border  of  its  own.  The  spaces  between  these 
borders  are  filled  for  the  most  part  with  a 
monotonous  geometrical  plaid  pattern,  but  five 
of  them  have  the  English  floral  scroll-work,  so 
noticeable  in  the  windows  at  Canterbury.  In 
most  of  these  windows  the  iron  bars,  being  shaped 
to  enclose  the  medallions,  form  a pattern  of  iron 
all  over  the  window,  in  the  style  peculiar  to  the 
thirteenth  century,  which  was  probably  abandoned 
because  the  mass  of  iron  in  front  of  the  glass  tends 
to  make  the  window  unduly  dark. 

The  subjects  of  the  six  windows  in  the  north 
aisle  of  Chartres  Cathedral  are  : in  the  first,  Noah ; 
in  the  second,  St  Lubin,  the  shepherd  of  Poitou, 
who  became  Bishop  of  Chartres ; in  the  third,  the 
Hunter,  Saint  Eustache,  in  one  of  the  most  beautiful 
and  artistic  windows  in  the  Cathedral,  described  by 
Westlake  as  “a  most  perfect  work  of  art”;  it  has 
floral  scrolls  in  the  interstices  between  the  medal- 
lions, in  the  style  of  the  windows  at  Canterbury 
instead  of  the  French  plaid  diaper  of  most  of  the 
other  windows  in  Chartres  Cathedral ; in  the  fourth 
is  Joseph ; in  the  fifth,  St  Nicolas ; in  the  sixth, 
La  Nouvelle  Alliance  (like  the  Nouvelle  Alliance 


124 


STORIED  WINDOWS 


window  at  Le  Mans,  described  on  p.  110),  of  which 
six  panels  were  destroyed  in  1816. 

On  the  south  side  of  the  aisle  are  four  windows, 
beginning,  as  before,  from  the  west,  with  the  stories 
in  the  first  of  St  John  the  Evangelist;  in  the 
second,  St  Mary  Magdalene ; in  the  third,  the 
Good  Samaritan ; in  the  fourth,  the  Death,  Burial, 
Assumption,  and  Coronation  of  the  Virgin. 

Next  to  this  the  line  is  broken  by  the  Chapelle 
Vendome,  which  lets  in  a great  deal  of  light 
through  its  fifteenth-century  glass.  This  chapel 
was  begun  in  1417  by  the  Count  of  Vendome,  Louis 
de  Bourbon,  the  ancestor  of  Henri  Quatre ; yet,  in 
spite  of  this  gift  of  princely  liberality,  the  Cathedral 
authorities  refused  to  break  the  rule  even  in  his 
case,  that  no  interment  should  ever  take  place  in 
Chartres  Cathedral.  The  window  with  Flamboyant 
tracery  contains  at  the  base  angels  carrying  the 
shields  of  Bourbon- Vendome.  Above  this  are 

several  Bourbon  portraits  and  a portrait  of  St 
Louis.  This  window  illustrates  the  gradual  increas- 
ing tendency  of  the  fourteenth  and  fifteenth  cen- 
turies to  let  in  more  light  by  the  invariable  use 
of  straight  saddle-bars  and  by  a larger  employment 
of  white  glass.  It  affords  a somewhat  startling 
contrast  to  the  deep  dark  colour  of  the  thirteenth- 
century  windows  which  surround  it.  Between 
the  Chapelle  Vendome  and  the  south  transept 
is  a window  mostly  filled  with  white  glass,  only 
one  subject  remaining  complete  out  of  the  lost 
medallions  of  the  thirteenth  century. 

The  clerestory  of  the  nave  of  Chartres  Cathedral, 


CHARTRES  CATHEDRAL 


125 


in  the  usual  fashion  of  clerestory  windows  in  the 
thirteenth  century,  contains  huge  single  figures  in 
each  lancet.  In  this  gorgeous  pageant  of  Patriarchs, 
Prophets,  Apostles,  and  Saints,  flashing  and  vibrat- 
ing with  the  sparkle  of  thousands  of  many-hued 
coruscating  jewels,  three  of  the  fourteen  lancets  on 
the  north  side  in  the  clerestory  of  the  nave  are 
especially  remarkable  for  their  colour.  In  the  third 
window  from  the  west  is  a figure  of  St  Laurence  in 
an  amazing  yellow  robe,  which  almost  suggests  the 
Imperial  yellow  of  the  late  Chinese  Emperors.  In 
the  tenth  lancet  is  St  George,  with  a wonderful 
face,  clad  in  bright  polychrome  raiment,  suggestive 
of  the  garb  of  a Highland  chieftain.  In  a window 
near  St  George  is  a figure  of  Abraham  surrounded 
by  glass  of  a glorious  clear  sapphire  blue. 

On  the  south  side  of  the  clerestory  of  the  nave, 
the  fifth  lancet,  headed  :]|f)tUppuS,  has  a patch  of 
wondrous  emerald  green,  like  those  in  the  south 
clerestory  of  the  choir  of  Le  Mans. 

In  the  north  transept  of  Chartres  Cathedral  are 
three  lower  windows.  In  the  first  is  the  story  of 
the  Prodigal  Son,  with  some  curious  variations 
from  the  Gospel  narrative.  The  second  and  third 
were  destroyed  in  1791,  at  the  time  of  the  French 
Revolution;  only  the  border  of  the  second,  con- 
taining twenty-one  angels,  is  left. 

In  the  clerestory  of  the  north  transept  are 
seven  windows  on  the  west  side,  of  which  the  last 
three  are  filled  with  grisaille  of  the  thirteenth 
century,  bordered  with  fleurs-de-lis  and  castles  of 
Castille.  Of  the  other  four,  the  first  contains  the 


126 


STORIED  WINDOWS 


Death,  Assumption,  and  Coronation  of  the  Virgin ; 
the  second,  the  Shepherds  and  the  Presentation ; 
the  third,  the  Annunciation  and  the  Visitation  ; 
the  fourth,  St  Joachim  and  St  Anne.  In  the  six 
clerestory  windows  on  the  eastern  side  of  the  north 
transept  are  four  with  Apostles ; the  fifth  has  the 
legend  of  St  Eustache ; and  the  sixth,  the  Annun- 
ciation, the  Birth  of  Christ,  and  the  Adoration  of 
the  Magi. 

The  great  Rose  of  the  north  transept  of  Chartres 
Cathedral  is  called  the  Rose  de  France,  having  been 
given  by  St  Louis ; it  has  twelve  medallions  of  the 
arms  of  France,  azure,  with  golden  fleurs-de-lis.  In 
the  centre  is  the  Virgin  enthroned  with  the  infant 
Jesus,  surrounded  by  three  circles  of  twelve  medal- 
lions each.  The  first  circle  has  four  doves,  four 
winged  thrones,  and  four  angels.  The  second  has 
twelve  kings  of  Judah.  The  third  has  twelve  minor 
prophets.  Under  the  Rose  is  a splendid  window  of 
five  great  lights.  In  the  centre  is  St  Anne  carrying 
the  Virgin,  illustrated  in  Westlake,  vol.  i.  p.  54. 
The  head  of  St  Anne  is  two  feet  high.  This  is  the 
largest  figure  in  the  Cathedral,  and  it  enables  the 
huge  size  of  the  other  clerestory  figures  to  be  esti- 
mated. Below  the  figure  of  St  Anne  is  the 

escutcheon  of  St  Louis,  with  the  old  arms  of 
France,  consisting  of  many  golden  fleurs-de-lis  on 
an  azure  ground.  On  the  right  are : 1st,  David 
and  Saul ; and  2nd,  Melchizedek  and  Nebuchad- 
nezzar. On  the  left  are : 1st,  Solomon  and 
Rehoboam ; 2nd,  Aaron  and  Pharaoh. 

In  the  south  transept  of  Chartres  Cathedral  are 


CHARTRES  CATHEDRAL 


127 


two  lower  windows,  which  were  destroyed  in  1791. 
The  third  window  contains  at  the  top  the  whole 
hierarchy  of  angels  except  the  thrones.  In  the 
centre  of  the  window  is  the  history  of  St  Apollin- 
arius,  Archbishop  of  Ravenna.  Here  the  thirteenth- 
century  glass  ends,  and  the  base  of  the  window 
is  filled  with  fourteenth-century  white  figures  in 
grisaille,  with  an  inscription  stating  that  it  was 
given  by  Egerrt,  cljanotne  he  ceans  (= Thierry, 
Canon  of  this  church)  in  1328.  This  is  the  earliest 
known  instance  of  white  figures  in  grisaille. 

The  windows  in  the  clerestory  of  the  south 
transept  of  Chartres  Cathedral  are  filled  mostly 
with  figures  of  Saints.  The  second  on  the  left 
contains  St  Denis  in  episcopal  costume,  inscribed 
«St  ® tongs  tug,  presenting  the  Oriflamme  or  banner 
of  the  Abbey  of  St  Denis  to  Henri  Clement,  the 
Petit  Marechal,  who  is  clad  in  gilt  mail  with  a long 
azure  surcoat.  He  died  in  1263.  The  Oriflamme  is  a 
red  banner  cleft  at  the  end  of  the  fly  into  several 
streamers,  with  a gilt  lance  as  a staff.  It  was  carried 
by  the  Count  of  Vexin  as  Yidame  or  secular  repre- 
sentative of  the  Abbey  of  St  Denis,  until  1082,  when 
the  county  of  Vexin  was  joined  to  the  crown  of 
France,  and  thus  the  French  king  gained  the  right 
to  carry  the  Oriflamme.  The  picture  is  interesting 
as  giving  the  shape  of  the  Oriflamme  in  the  thir- 
teenth century.  An  illustration  of  this  window  is 
given  by  Westlake  in  vol.  i.  p.  57.  Three  of  these 
windows  have  double  borders. 

The  great  rose  of  the  south  transept  has  a figure 
of  Jesus  encircled  by  thirty-six  medallions,  which 


128 


STORIED  WINDOWS 


illustrate  the  seventh  chapter  of  the  Revelations, 
for  they  contain  eight  angels,  four  beasts,  and  four- 
and-twenty  elders. 

In  the  five  great  lights  underneath  the  Rose,  the 
central  one  contains  Jesus  carried  in  the  arms  of  His 
Mother.  In  the  four  side  lights  is  the  singular 
spectacle  of  the  four  Evangelists  carried  on  the 
shoulders  of  the  four  Major  Prophets,  with  their 
names  clearly  inscribed  in  large  letters.  Under 
each  Prophet  is  the  figure  of  a donor.  The  date 
of  this  window  is  fixed  by  the  portraits  of  the 
donors,  Alix  de  Thouars,  Duchess  of  Brittany,  and 
her  husband  the  Count  of  Dreux.  They  were 
married  in  1212,  and  she  died  in  1226.  The  arms 
of  Dreux-Bretagne  are  repeated  in  twelve  quatre- 
foils.  In  this  window  the  eyes,  being  formed  of  little 
circles  of  white,  leaded  round,  give  the  faces  the 
appearance  of  staring  out  of  spectacles.  Westlake 
describes  and  illustrates  this  window  in  vol.  i.  pp. 
51-53. 

The  choir  of  Chartres  Cathedral  is  much  lighter 
than  the  nave,  owing  to  an  incredible  act  of 
vandalism  committed  in  the  eighteenth  century. 
The  Kings  sculptor,  a man  named  Bridan,  made 
an  enormous  stone  group  of  the  Assumption  in 
1788,  and  persuaded  the  unworthy  chapter  of  the 
Cathedral  to  let  light  into  his  modern  sculpture  by 
destroying  one  rose  and  seven  windows  of  St  Louis 
and  replacing  them  by  white  glass ; which  reminds 
one  of  Bacon’s  extreme  self-lovers  in  the  Essay  of 
Wisdom  for  a Mans  Self,  “ who  will  set  a house 
on  fire,  an  it  were  but  to  roast  their  eggs.”  The 


CHARTRES  CATHEDRAL 


129 


result  is  that  on  entering  the  choir  there  is  a feeling 
of  discomfort  like  that  of  looking  through  a roof 
with  holes  in  it. 

Another  lesser  act  of  vandalism  was  committed 
in  1757,  when  the  thirteenth-century  borders  were 
removed  from  the  first  four  windows  on  the  north 
side  of  the  choir  to  give  more  light  to  the  officiating 
priests,  by  putting  in  borders  of  white  glass.  The 
first  of  these  windows  has  the  Virgin  enthroned. 
In  the  second  are  two  groups  of  peasant  pilgrims 
whose  costumes  are  of  great  archaeological  interest. 
The  next  three  windows  are  in  white  glass.  The 
sixth  and  seventh  contain  the  story  of  St  Martin. 
The  next  two  are  in  white  glass. 

The  apse  of  the  choir  of  Chartres  Cathedral  con- 
tains seven  immense  lancets,  each  forty-six  feet 
high.  The  East  window  contains  the  Annunciation, 
the  Visitation,  and  the  Birth  of  Christ.  The  window 
on  each  side  of  this  contains  a censing  angel,  whose 
golden  thurible  entirely  breaks  through  the  border 
in  a very  unusual  way.  Out  of  the  six  other  win- 
dows of  the  apse,  four  contain  figures  from  Old 
Testament  history,  and  on  the  north  side  is  one 
with  the  history  of  St  Peter,  balanced  on  the  south 
by  the  history  of  St  John  the  Baptist.  Next  to 
them,  in  the  south  clerestory  of  the  choir,  the 
windows  which  are  not  white  contain  figures  of 
saints,  except  the  last,  which  has  the  Birth  of  Christ 
and  the  Flight  into  Egypt. 

All  round  the  ambulatory  of  Chartres  Cathedral 
choir  are  windows  of  the  thirteenth  century,  with 

I 


130 


STORIED  WINDOWS 


two  exceptions.  The  first  window  on  the  north 
side,  starting  from  the  west,  was  given  by  Geoffrey 
Chardonnel,  who  died  about  1210.  The  second 
contains  St  Nicolas.  The  next  four  contain  fine 
grisaille  of  the  thirteenth  century  deserving  careful 
examination.  The  next  chapel  (of  St  Julian)  con- 
tains St  Thomas  and  St  J ulian,  and  a third  window 
in  grisaille.  The  next  chapel  has  five  windows  with 
saints.  Next  to  this  chapel  is  the  celebrated  window 
with  the  legend  of  Charlemagne  ; it  is  inscribed 
Carolus  in  three  places.  (It  is  described  in  detail 
in  the  chapter  following.)  In  the  next  window 
is  St  James. 

Then  comes  the  central  chapel  at  the  east  end, 
which  is  not,  as  usual,  the  chapel  of  Our  Lady, 
because  the  whole  Cathedral  is  one  vast  Lady 
Chapel,  being  dedicated  to  Notre  Dame.  The  first 
window  in  this  chapel  is  in  grisaille  with  the  arms  of 
St  Louis’  mother,  Blanche  of  Castille.  The  second 
has  the  history  of  St  Simon  and  St  Jude.  The 
third  has  scenes  from  the  Life  of  Christ,  with  nine 
medallions  restored,  which  were  destroyed  in  1791. 
This  window  resembles  the  East  window  in  Becket’s 
Crown  in  Canterbury  Cathedral ; when  the  medal- 
lions were  restored,  some  of  the  subjects  were  copied 
from  the  Canterbury  window.  In  the  next  two, 
containing  the  history  of  St  Peter  and  St  Paul, 
twenty-four  medallions  have  been  restored. 

Over  the  door  of  the  chapel  of  St  Piat  is  his 
figure  on  grisaille  of  the  fourteenth  century,  which 
is  one  of  the  earliest  instances  known  of  a figure  on 
grisaille.  The  next  window  has  the  history  of 


CHARTRES  CATHEDRAL 


131 


St  Melchiade  and  St  Sylvester ; it  is  given  by  the 
stone  workers,  and  it  contains  marvellously  beautiful 
sapphire  blue.  In  the  next  chapel  (of  St  Joseph) 
are  five  windows,  two  of  which  contain  figures  of 
St  Nicolas.  The  first  window  is  in  grisaille,  with 
a fifteenth-century  figure  of  St  Nicolas  restoring 
three  children  to  life,  who  had  been  cut  to  pieces 
and  hidden  in  the  salting  tub  by  the  godless  inn- 
keeper. The  third  window  also  has  a figure  of 
St  Nicolas.  He  was  Bishop  of  Myra  in  Lycia  in 
the  fourth  century,  and  he  became  the  most  popular 
saint  in  the  Middle  Ages.  He  was  regarded  as  the 
protector  of  the  weak,  especially  children,  who  have 
now  altered  his  name  to  Santa  Claus,  and  eagerly 
expect  his  gifts  at  Christmas-tide.  It  was  on  St 
Nicolas’  day,  December  6th,  that  the  children  used 
to  elect  the  boy  bishop.  St  Nicolas  was  also  the 
patron  saint  of  sailors,  merchants,  craftsmen,  and 
poor  scholars,  who  were  called  Clerks  of  St  Nicolas, 
and  it  was  considered  meritorious  to  relieve  their 
necessities.  But  the  poor  scholars  seem  to  have 
degenerated  into  sturdy  beggars  and  highway 
robbers,  to  whom  Shakespeare  gives  the  name  of 
“Saint  Nicholas’  clerks”  in  “Henry  IV.,”  Part  I. 
At  Chartres  St  Nicolas  was  the  patron  saint  of 
nearly  all  the  trade  guilds.  The  second  window  in 
this  chapel  has  the  history  of  St  Remi,  Archbishop 
of  Reims.  The  fourth  has  the  story  of  St  Margaret 
and  St  Catherine  and  three  donors.  The  fifth  is  the 
interesting  window  of  St  Thomas  of  Cantorbery 
given  by  the  Tanners  (which  is  fully  described  in 
the  next  chapter). 


1 32 


STORIED  WINDOWS 


Of  the  three  windows  of  the  next  chapel  (of  All 
Saints),  the  first,  given  by  the  Shoemakers,  has  the 
history  of  St  Martin,  the  next  two  have  white  glass. 
There  are  six  window's  between  this  chapel  and  the 
south  transept ; the  first  two  are  in  fourteenth- 
century  grisaille  of  about  1350;  on  one  of  these  is 
an  Annunciation.  The  third,  of  about  1220,  is 
remarkable  for  having  the  twelve  signs  of  the 
Zodiac,  and  the  agricultural  operations  of  each  of 
the  twelve  months ; this  window  was  given  by  the 
Count  of  Chartres  at  the  request  of  the  Count  of 
Perche  who  was  killed  at  the  Battle  of  Lincoln  in 
1217.  The  fourth  has  the  history  of  the  Virgin. 
The  fifth  is  the  famous  window  (described  in  the 
next  chapter),  called  Notre  Dame  de  la  belle 
Verrikre,  i.e .,  Our  Lady  of  the  beautiful  window. 
The  last  window  next  to  the  south  transept  con- 
tains the  story  of  St  Antony  and  of  Paul  the 
first  hermit. 

In  some  of  the  windows  in  the  ambulatory  and 
the  choir  clerestory  of  Chartres  Cathedral  there  is, 
especially  at  the  edges,  a good  deal  of  reddish 
purple,  of  the  colour  of  a patch  of  heather,  un- 
pleasantly suggestive  of  modern  glass.  But  this 
seems  to  be  due  to  the  fact,  on  which  Viollet-le- 
Duc  dwells  in  his  interesting  article  on  “Vitrail” 
in  vol.  ix.  of  the  ‘ Dictionnaire  de  1’ Architecture,’ 
that  blue  glass  radiates  a good  deal  of  colour  on  to 
the  glass  next  to  it,  and  if  this  happens  to  be  red 
then  this  heather-coloured  hue  is  the  result. 


133 


CHAPTER  XX. 

THREE  STORIED  WINDOWS  IN  CHARTRES  CATHEDRAL. 

The  three  windows  of  Notre  Dame  de  la  belle 
Verriere,  St  Thomas  of  Cantorbery,  and  Charlemagne 
seem  to  deserve  examination  in  detail, — because  of 
the  great  interest  of  the  unusual  scenes  in  the  two 
latter,  and  the  great  fame  of  the  first. 


NOTRE  DAME  DE  LA  BELLE  VERRIERE. 

The  window  next  but  one  to  the  south  transept 
in  the  ambulatory  of  the  choir  of  Chartres  Cathedral, 
which  is  so  well  known  by  the  name  of  Notre  Dame 
de  la  belle  Verriere,  is  as  beautiful  as  it  is  famous ; 
in  fact,  it  would  be  difficult  to  find  any  window  to 
rival  it.  The  image  of  the  Virgin  in  this  window 
was  the  object  of  great  veneration  in  former  times, 
when  it  was  customary  to  pray  before  it.  Now 
only  a few  country  people  do  so.  Viollet-le-Duc 
says  that  the  central  figure  of  the  Virgin  and  Child 
is  of  the  twelfth  century,  and  that  all  the  rest  of 
the  window  was  made  in  the  thirteenth  century. 


134 


STORIED  WINDOWS 


This  would  imply  that  the  central  figure  in  the 
window  was  saved  from  the  fire  of  1194. 

The  upper  half  of  the  window  contains  the  Virgin 
Mary  (whose  head  has  been  restored)  and  the  Child 
Jesus  surrounded  by  a choir  of  angels.  The  central 
part  of  the  upper  half,  in  four  of  the  spaces  defined 
by  the  straight  saddle-bars,  is  occupied  by  a canopy 
at  the  top,  under  which,  below  the  Holy  Ghost 
in  the  form  of  a dove,  sits  a splendid  Byzantine 
figure  of  the  Virgin,  with  a singularly  old-looking 
figure  of  Christ  seated  in  her  lap.  On  each  side 
of  the  canopy  is  a small  lancet-shaped  medallion 
with  a demi-figure  of  an  angel.  Below  this  in 
three  panels  on  each  side  of  the  Virgin  Mother 
are  angels  kneeling.  The  first  pair  on  each  side 
of  the  Virgins  head  are  holding  large  censers,  which 
go  across  from  the  side  panels  right  into  the  centre 
panel  over  the  Virgin’s  head.  The  middle  pair 
of  angels  hold  candlesticks,  and  the  lower  pair  hold 
small  censers.  In  the  three  uppermost  panels  of 
the  lower  half  of  the  window  are  six  angels,  com- 
pleting the  encircling  choir ; in  each  side  panel  is  a 
single  angel  standing  with  a censer ; in  the  central 
panel  are  four  standing  angels,  holding  pillars  in 
their  hands,  which  perhaps  are  meant  for  candle- 
sticks. Westlake  describes  these  as  four  angels 
with  pillars  upholding  the  throne,  but  neither  the 
pillars  nor  the  upholders  seem  large  enough  for  this 
purpose.  The  six  middle  compartments  in  the  lower 
half  of  the  window  contain  an  elaborate  representa- 
tion of  the  Miracle  of  Cana  in  Galilee  in  six  scenes. 

At  the  base,  in  three  compartments,  are  scenes 


3 STORIED  WINDOWS  IN  CHARTRES  135 


of  the  Temptation  of  our  Lord  by  Satan,  who  is 
represented  as  a fiend,  with  ass's  ears,  and  a snout- 
like face  and  cloven  feet,  resembling  the  demon  in 
the  legend  of  Theophile  at  Grand  Andely.  Just 
as  the  Virgin  enthroned  under  a canopy  connects 
together  the  upper  part  of  the  window,  so  the  lower 
part  beneath  the  choir  of  angels  is  united  by  a frame 
of  most  unusual  shape,  which  begins  in  the  central 
compartment  below  the  angels,  extends  into  the 
two  side  panels  below  this,  and  ends  in  the  central 
compartment  at  the  base.  The  whole  of  this 
magnificent  window  is  surrounded  by  a border 
of  beautiful  design  and  colour.  This  window  is 
illustrated  by  Westlake  in  vol.  i.  p.  22. 


THE  STORY  OF  ARCHBISHOP  BECKET. 

The  second  of  these  storied  windows,  which  is 
that  of  St  Thomas  of  Canterbury,  being  the  fifth 
window  in  the  chapel  of  St  Joseph  in  the  south 
ambulatory  of  the  choir,  contains  events  of  Becket’s 
real  life  as  Archbishop  of  Canterbury,  unlike  the 
Becket  windows  in  Canterbury  Cathedral,  which 
contain  various  legendary  miracles  wrought  by 
St  Thomas  of  Canterbury  after  his  death.  It 
would  therefore  be  a help  to  the  understanding  of 
the  window  to  give  a brief  summary  of  Becket's  life 
as  Archbishop  of  Canterbury. 

Becket,  under  the  protection  of  Archbishop  Theo- 
bald, became  Chancellor  of  Henry  the  Second  in 
1155,  and  seven  years  later  he  succeeded  Theobald 


136 


STORIED  WINDOWS 


as  Archbishop  of  Canterbury  in  1162.  In  the  fol- 
lowing year  Becket,  as  the  champion  of  the  Benefit 
of  Clergy  which  protected  criminous  clerks  from 
punishment  by  lay  courts,  quarrelled  with  Henry 
the  Second  over  the  Constitutions  of  Clarendon.  In 
1164  Henry  the  Second,  furious  at  Beckets  opposi- 
tion, very  meanly  demanded  from  the  Archbishop 
accounts  of  the  monies  which  had  passed  through 
his  hands  as  Chancellor,  although  Becket  had  re- 
ceived a quittance  in  1162.  Becket,  in  October 
1164,  was  sentenced  to  forfeit  his  movable  goods 
for  refusing  to  acknowledge  the  Kings  jurisdic- 
tion. In  November  1164,  Becket,  becoming  alarmed 
at  his  position,  embarked  at  Sandwich,  and  went  to 
Soissons,  where  he  met  the  French  king,  Louis  VII., 
who  took  Becket  under  his  protection,  and  the  case 
was  put  before  Pope  Alexander  III.  at  Sens. 

Becket  next  resided  at  the  Cistercian  Abbey  at 
Pontigny,  till  Henry  the  Second  drove  him  out 
from  there  in  1166  by  threatening  to  expel  all  the 
Cistercians  in  England.  Becket  then  went  to  the 
Benedictine  Abbey  of  Sainte  Colombe  at  Sens,  which 
was  under  the  special  protection  of  Louis  VII.  In 
1170  Henry  the  Second  encroached  on  the  rights  of 
the  Archbishop  of  Canterbury  by  ordering  the  Arch- 
bishop of  York,  assisted  by  the  Bishops  of  Lincoln 
and  Salisbury,  to  crown  his  son  as  his  colleague. 

Pope  Alexander  III.  brought  about  a hollow 
reconciliation  in  1170,  and  Becket  returned  to 
England  on  November  30,  and  excommunicated 
the  Bishops  of  Lincoln  and  Salisbury  for  obeying 
the  king's  orders.  This  news  being  carried  to 


3 STORIED  WINDOWS  IN  CHARTRES  137 


Henry  the  Second  in  Normandy,  produced  the 
outburst  of  rage  which  led  to  Becket’s  murder  in 
Canterbury  Cathedral,  December  29th,  1170;  and 
Pope  Alexander  III.  canonised  him  as  St  Thomas 
of  Canterbury  in  1173. 

Becket’s  secretary,  John  of  Salisbury,  became 
Bishop  of  Chartres  in  1176,  and  this  window  was 
put  up  within  forty  years  of  Becket’s  death.  Many 
of  the  scenes  in  this  window  are  identical  with  those 
in  the  cathedral  at  Sens,  where  Becket  lived  in 
exile.  These  are  the  ones  numbered  4,  9,  10,  12, 
19,  and  20. 

There  are  twenty-four  scenes  in  the  window  of  St 
Thomas  of  Cantorbery  in  the  cathedral  of  Chartres, 
starting  from  the  base  : — 

1.  Becket  is  being  seized  by  a man  with  a club. 

2.  A group  of  six  men,  and  a man  with  a club. 

3.  Becket  in  Archbishop’s  robes,  with  a crozier 

and  a mitre,  before  Henry  the  Second 
seated  on  a throne. 

4.  Becket  on  horseback,  with  Hubert  behind, 

before  the  open  gate  of  a town. 

5.  6,  7.  The  tanners  at  work,  because  the  window 

is  the  gift  of  the  Guild  of  Tanners  (47 
windows  in  Chartres  were  given  by  trade 
guilds,  and  most  of  these  are  in  the  aisles 
and  ambulatory). 

8.  Becket  being  consecrated  as  Archbishop  of 

Canterbury  by  a Bishop. 

9.  Becket,  and  Henry  the  Second,  who  is  seated 

and  has  a little  demon  on  his  shoulder. 

10.  Becket  embarking  at  Sandwich  for  Gravelines. 


138 


STOKIED  WINDOWS 


11.  Becket  meeting  Pope  Alexander  III.  at  Sens. 

1 2.  A group  of  men. 

13.  Becket  and  some  men  on  horseback. 

14.  Becket  and  Louis  VII.,  the  King  of  France. 

15.  Becket  and  the  King  and  Pope  Alexander  III. 

16.  Some  monks  and  Becket  sailing  back  to 

England  from  Wissant. 

17.  Becket  is  threatened  by  Henry  the  Second. 

18.  Becket  is  being  led  by  two  men  to  Henry  the 

Second,  who  is  seated. 

19.  Becket  addresses  a group  of  men. 

20.  Becket  with  a priest  before  a church. 

21.  Two  Men  at  Arms. 

22.  Two  Men  at  Arms. 

23.  Becket’s  head  is  being  struck  with  a sword  by 

a soldier.  Edward  Grim  stands  behind 
holding  a cross. 

24.  (At  the  top  of  the  window).  Becket  is  in  his 

tomb  being  censed  by  an  angel,  while  the 
sick  on  each  side  are  praying  for  him  to 
heal  them. 

Westlake,  vol.  i.  p.  108,  says  that  from  the  close 
resemblances  of  design  and  detail  he  is  convinced 
that  the  windows  of  Chartres  and  Sens  were  designed 
and  executed  by  the  same  hand  as  the  Becket 
windows  in  Canterbury,  and  that  the  windows  or 
the  artists  were  imported  into  England  from  France. 


3 STORIED  WINDOWS  IN  CHARTRES  139 


THE  STORY  OF  CHARLEMAGNE. 

The  third  of  these  storied  windows,  being  the 
next  but  one  to  the  north  of  the  central  eastern 
chapel,  contains  scenes  from  the  life  of  Charlemagne  : 
not,  however,  of  the  real  Emperor,  but  of  the 
legendary  hero  of  romance,  whose  story  was  so 
popular  in  the  eleventh,  twelfth,  and  thirteenth 
centuries  among  the  French  trouveres  or  romancers 
in  the  north  of  France,  and  jongleurs  or  performing 
minstrels. 

The  real  Emperor  Charlemagne  reigned  from  768 
till  814.  In  778  he  went  to  Spain  and  took 
Pampeluna,  but  on  his  return  through  the  Pyrenees 
his  rear-guard  was  ambushed  by  the  Basques  and  cut 
up  at  Roncevaux,  in  the  very  place  where  the  Duke 
of  Wellington  defeated  Marshal  Soult  in  1813. 
Einhard,  who  died  twenty-six  years  after  Charle- 
magne, says  in  his  ‘ Vita  Karoli  Magni  ’ that  Hruod- 
land,  Warden  of  the  Breton  March,  was  killed  in  the 
massacre  at  Roncevaux.  This  was  the  foundation  of 
many  legends  of  astonishing  inaccuracy,  and  perhaps 
the  most  inaccurate  of  all  is  contained  in  the  phrase 
in  Milton’s  ‘Paradise  Lost/  I.,  586-87 — 

“ When  Charlemain  with  all  his  peerage  fell 
By  Fontarrabia.” 

The  earliest  extant  and  most  widely  known  collec- 
tion of  legends  of  Charlemagne  and  his  twelve 
famous  Peers  or  Paladins  was  the  ‘Chanson  de 
Roland/  that  song  of  Roland,  the  nephew  of  Charle- 
magne, which  was  written  about  the  beginning  of 
the  eleventh  century,  and  was  sung  by  Taillefer  at 


140 


STORIED  WINDOWS 


the  battle  of  Hastings,  according  to  the  tradition 
preserved  by  William  of  Malmesbury  in  the  ‘ Gesta 
Regum/  written  about  1120;  and  by  Wace,  in  the 
‘ Roman  de  Rou,’  written  about  1160-74. 

But  the  designer  of  this  window  in  the  cathedral 
at  Chartres  does  not  appear  to  have  derived  his 
story  from  the  4 Chanson  de  Roland,’  but  from  two 
monkish  chronicles,  written  in  Latin,  apparently  to 
authenticate  certain  saintly  relics. 

One  of  these  is  called  the  4 Historia  de  Vita  Caroli 
Magni  et  Rolandi,’  which  was  commonly  known  as 
the  Chronicle  of  Turpin.  It  professes  to  have  been 
written  by  Turpin,  Archbishop  of  Reims,  who  was 
a real  contemporary  of  Charlemagne,  and  who  died 
fourteen  years  before  him  in  800.  But  the  chronicle 
of  the  Pseudo-Turpin,  probably  composed  by  a Monk 
of  Vienne,  was  not  really  written  till  the  beginning 
of  the  twelfth  century,  later  than  the  4 Chanson  de 
Roland.’  The  chief  aim  of  the  Chronicle  of  Turpin 
was  to  establish  the  genuineness  of  the  relics  of  St 
Jago  de  Campostella  in  Galicia,  which  drew  so  many 
pilgrims  even  from  so  far  off  as  England,  for  Chaucer 
mentions  that  the  Wife  of  Bath  had  been  44  in  Galice 
at  Seynt  Jame.” 

The  Chronicle  of  Turpin  was  declared  to  be 
authentic  by  Pope  Calixtus  II.  in  1122.  This 
chronicle  includes  the  story  of  the  three  days’ 
fight  of  Roland  and  the  giant  Ferragus,  who  was 
eighteen  feet  high,  which  is  not  found  in  the 
4 Chanson  de  Roland,’  and,  in  fact,  all  the  scenes 
in  this  window  from  the  seventh  to  the  end  are 
derived  from  this  chronicle. 


3 STORIED  WINDOWS  IN  CHARTRES  141 


The  first  six  scenes  in  this  window  are  inspired 
by  another  monkish  chronicle,  written  in  Latin,  by 
a Monk  who  apparently  belonged  to  the  Abbey  of 
St  Denis  near  Paris.  This  was  written  about  1170, 
at  least  half  a century  later  than  the  Chronicle  of 
Turpin,  and  it  was  called  ‘A  Voyage  of  Charle- 
magne to  Jerusalem/  but  it  is  often  termed  the 
‘ Chronique  de  St  Denis/ 

According  to  this  chronicle  Charlemagne  was 
entreated  by  the  Byzantine  Emperor  Constantine 
to  reconquer  the  Holy  Land,  as  he  himself  was  not 
strong  enough  to  do  so.  Charlemagne  assembled  a 
large  army,  and  went  to  Constantinople,  where  he 
was  eagerly  welcomed.  He  took  Jerusalem,  and 
refused  to  receive  any  other  reward  from  Constan- 
tine except  some  Holy  Relics,  so  Constantine  gave 
him  the  Crown  of  Thorns,  the  Holy  Nails,  and 
a piece  of  the  True  Cross.  These  were  after- 
wards presented  to  the  Abbey  of  St  Denis  near 
Paris. 

The  Monk  who  wrote  this  Chronique  de  St  Denis 
could  not  foresee  the  curious  sequel,  that  when  St 
Louis  bought  another  set  of  the  same  relics  (now  in 
the  sacristy  of  Notre  Dame)  in  the  East,  and  built 
the  Sainte  Chapelle  to  receive  them,  the  Abbey  of 
St  Denis  was  obliged  to  contest  the  authenticity  of 
these  rival  relics. 

The  window  itself  contains  twenty-one  scenes  of 
the  legend  of  Charlemagne  and  Roland.  It  has  a 
picture  at  the  base  of  a Furrier  selling  a robe  lined 
with  fur,  to  show  that  the  window  was  the  gift  of 
the  Furriers’  Guild.  The  first  scene  of  the  story  of 


142 


STORIED  WINDOWS 


Charlemagne,  starting  from  the  foot  of  the  window, 
is : — 

1.  The  Emperor  Constantine  being  warned  in  a 

dream  to  summon  Charlemagne  to  his 
assistance  to  rescue  the  Holy  City  from 
the  Saracens.  The  word  Carolus  is  in- 
scribed in  this  scene  close  to  Charle- 
magne figured  as  a mounted  knight  with 
shining  shield  by  the  bedside  of  the 
Emperor.  (This  is  described  and  illus- 
trated in  Day’s  ‘ Windows,’  1st  edition, 
p.  127,  as  “ the  dream  of  Charlemagne.”) 

2.  Charlemagne  deliberates  with  two  Bishops. 

3.  Charlemagne  is  received  at  the  gates  of 

Constantinople. 

4.  Fight  of  Charlemagne  with  the  Saracens. 

5.  The  Emperor  gives  Charlemagne  three 

caskets  or  reliquaries.  (Evidently  these 
are  supposed  to  contain  the  Crown  of 
Thorns  and  the  Holy  Nails,  and  the 
piece  of  the  True  Cross.) 

6.  Charlemagne  offers  these  reliquaries  to  the 

Abbey  of  St  Denis  at  Paris  (where,  accord- 
ing to  the  Chronicle  of  Turpin,  Charlemagne 
convoked  an  assembly,  and  had  a vision  of 
St  Denis  shortly  before  his  death). 

7.  Charlemagne  deliberates  with  two  persons 

about  going  to  Galicia  to  deliver  the 
tomb  of  St  James  at  Campostella  from 
the  hands  of  the  Saracens. 

8.  Charlemagne  sets  out  with  Turpin,  the  Arch- 

bishop of  Reims. 


CHARTRES  CATHEDRAL. 

Shaped  Iron  Frame  of  the  Window,  of 
Charlemagne.  XIIIth  Century. 


. 


3 STORIED  WINDOWS  IN  CHARTRES  143 


9.  St  James  of  Campostella  appears  to  Charle- 
magne in  a dream. 

10.  Charlemagne  prays  to  God  in  presence  of  the 

army. 

11.  Charlemagne  pursues  a Saracen  king. 

12.  Charlemagne  builds  a church  to  St  James  of 

Campostella. 

13.  Charlemagne  prepares  for  a second  fight  with 

the  Saracens. 

14.  Charlemagne  fights  and  overthrows  the 

Saracen  King. 

15.  Archbishop  Turpin  celebrates  Mass  before 

Charlemagne.  (In  the  Chronicle  of  Turpin 
this  is  a mass  for  the  dead  including 
Roland,  who  were  slain  at  Roncevaux.) 

16.  Roland  slays  the  Syrian  giant,  Ferragus,  in 

the  third  day’s  combat. 

17.  Charlemagne  crosses  the  Pyrenees. 

18.  Roland  cleaves  the  rock  with  his  sword 

Durandal,  while  trying  to  destroy  it  lest 
it  should  fall  into  the  hands  of  the  Saracens 
after  his  death ; and  he  sounds  the  horn 
Oliphant  to  summon  his  uncle  Charle- 
magne. 

19.  The  dying  Roland  drinks  from  Thierry’s 

helmet. 

20.  Thierry  reports  the  death  of  Roland. 

21.  At  the  top  of  the  window  is  the  first  day’s 

combat  of  Roland  with  the  giant  Ferragus  ; 
on  each  side  is  an  angel. 

In  the  great  folio  of  Lassus  are  illustrations  of  the 
indows  of  Charlemagne  and  Notre  Dame  de  la 


144 


STORIED  WINDOWS 


belle  Verriere;  also  of  tbe  three  twelfth -century 
windows  in  the  west  wall,  and  of  St  Anne  and  the 
Prodigal  Son  in  the  north  transept,  and  of  the 
Virgin  Mother  and  Prophets,  with  Evangelists,  and 
the  grisaille  of  Tyerri  in  the  south  transept,  and  of 
the  windows  of  St  Janies,  St  Eustache,  and  St 
George. 

To  appreciate  thoroughly  the  glass  in  the 
cathedral  of  Chartres,  it  is  necessary  to  visit  it 
at  different  times  in  the  day,  because  the  east 
end  and  the  south  side  look  best  in  the  morning 
light,  while  in  the  evening  the  sun  makes  the 
yellow  pot-metal  on  the  north  side  look  like  shining 
gold. 

Those  who  have  never  seen  Chartres  are  recom- 
mended to  go  there  as  soon  as  possible  and  visit 
the  Cathedral  in  the  sunshine,  and  then  they  will 
probably  wonder  that  they  have  never  been  there 
before. 


LA  TRINITE,  VENDOME. 


Flamboyant  West  Front. 


145 


CHAPTER  XXL 

GLASS-HUNTING  IN  THE  WESTERN  CENTRE  OF  FRANCE, 
BEGINNING  WITH  VEND6ME. 

South  of  Chartres  and  Le  Mans,  in  the  middle  of 
Western  France,  there  are  most  interesting  and 
important  glass  centres  in  Touraine,  Anjou,  Poitou, 
and  Berry,  in  the  towns  of  Tours,  Angers,  Poitiers, 
and  Bourges. 

One  route  from  Paris  to  Tours  passes  through 
Vendome,  a hundred  and  twelve  miles  from  Paris, 
where  the  Abbey  church  of  La  Trinite  contains 
some  remarkable  windows.  The  choir  dates  from 
the  thirteenth  century,  having  been  built  to  replace 
an  eleventh-century  church,  of  which  only  the  fine 
tower  remains.  The  nave  is  built  in  Flamboyant 
style,  and  the  west  front  is  an  excellent  instance  of 
the  finest  Flamboyant  Architecture. 

There  is  ancient  glass  in  thirty-nine  windows  of 
this  church.  On  the  north  side  of  the  nave  are 
four  windows,  in  the  Flamboyant  tracery  of  which 
are  many  interesting  little  figures  of  the  transitional 
period  of  about  1500.  East  of  these  is  an  early 

K 


146 


STORIED  WINDOWS 


Renaissance  picture  with  the  cusped  canopy  of  the 
transitional  period.  Close  to  the  north  transept  is 
a Renaissance  window,  much  restored,  of  the  Im- 
maculate Conception,  where  the  Virgin  appears 
on  a ruby  ground  with  fifteen  emblems.  On  the 
south  side  of  the  nave  are  six  windows,  in  the 
centre  of  each  of  which  is  a small  Renaissance 
figure. 

In  the  north  transept  is  a grisaille  window  with 
a seventeenth-century  panel. 

East  of  the  north  transept  is  the  chapel  of  St 
Martin  with  three  windows  of  late  fifteenth  century, 
of  bright  colour,  but  a good  deal  restored.  In  each 
of  these  three  windows  are  large  figures  on  pedestals 
with  coloured  canopies.  In  the  first  is  a Sainte 
with  a book,  St  Denis  holding  his  severed  head,  and 
a Bishop.  In  the  centre  window  is  St  Martin  be- 
tween a Sainte  and  a female  figure  with  a cross. 
On  the  right  is  a modern  Virgin  and  Child  between 
two  Saints,  one  of  whom  has  a chalice  and  the  other 
a crown. 

In  the  next  chapel  on  the  north  side  of  the 
choir  are  three  Renaissance  windows,  which  were 
greatly  damaged  by  an  explosion  in  1871,  but  are 
now  restored  with  nearly  half  new  glass.  The 
central  picture  represents  Mary  Magdalene  wiping 
Jesus’  feet  with  her  golden  hair,  amid  indignant 
feasters  at  Simon’s  house.  In  the  window  on  the 
right  Christ  is  addressing  a crowd,  in  which  stands 
a man  with  the  face  of  Francois  Premier,  while 
conspicuous  in  the  middle  is  a woman  looking  like 
Diane  de  Poitiers. 


vendOme— la  trinity 


147 


The  two  windows  at  the  entrance  of  the  Lady 
Chapel  have  in  the  centre  a horizontal  band  of 
Renaissance  pictures.  In  the  one  on  the  north  are 
Adam  and  Eve,  Noah  in  the  Ark,  Abraham  sacri- 
ficing Isaac,  Moses  showing  the  tables  of  the  law. 
East  of  this  is  an  Annunciation  of  early  seventeenth 
century,  much  restored,  which  has  been  introduced 
from  elsewhere.  The  east  windows  of  the  Lady 
Chapel  are  modern.  In  the  window  on  the  south 
side  of  the  Lady  Chapel  are  : Jacob’s  dream  ; three 
Saints  in  a pot  with  fire  beneath,  amid  malignant 
executioners  and  spectators  (dated  1549) ; Daniel  in 
the  lion’s  den  ; the  Coronation  of  the  Virgin. 

South  of  the  Lady  Chapel  is  the  chapel  of  All 
Saints,  which  has  in  the  left  window  three  figures 
on  pedestals  with  coloured  canopies,  of  the  end  of 
the  fifteenth  century.  The  figure  on  the  left  is 
Michael  the  Archangel  spearing  a demon ; in  the 
middle  is  a Palmer;  and  on  the  right  is  Sfc  Christo- 
pher with  a stout  green  pole.  In  the  central  window 
is  a Bishop  and  a Saint,  of  early  Renaissance  style 
with  cusped  canopies.  Between  these  two  figures 
is  the  famous  window  of  Vendome,  a splendid 
twelfth-century  picture  of  Byzantine  type,  by  an 
artist  of  the  school  of  St  Denis,  representing  the 
Virgin  with  the  Child  Jesus  in  her  lap.  She  wears 
a blue  dress,  and  is  framed  in  a long,  narrow, 
almond-shaped  Vesica,  sharply  pointed  at  top  and 
bottom,  of  brownish  yellow  pot-metal.  This  is  the 
earliest  known  instance  of  an  aureole  shaped  like 
a Vesica  Piscis  (fish’s  bladder).  This  magnificent 
picture  was  saved  from  the  earlier  church  of  the 


148 


STORIED  WINDOWS 


eleventh  century.  It  is  illustrated  by  Westlake 
in  vol.  i.  p.  34.  In  the  next  window  are  seven 
Deacons  with  St  Stephen  (new  head)  in  the 
centre. 

In  the  chapel  of  St  Peter,  which  is  the  second 
chapel  on  the  south,  in  two  of  the  windows  are 
three  figures  of  late  fifteenth  century.  On  the  left 
is  St  Peter  in  a tiara  with  a key,  St  John  with 
a lamb,  and  St  James  with  a sword.  On  the  right 
is  a mitred  St  Blaise,  nude  and  bound,  with  rakes 
at  his  feet,  a modern  figure  of  the  Virgin,  and  St 
Sebastian.  Between  these  two  windows  is  a re- 
markably vigorous  Renaissance  picture  of  Christ  on 
land  calling  Peter,  Andrew,  John,  and  James  to 
leave  their  boats  and  follow  Him ; from  His  mouth 
issue  the  words,  Venite  post  Me;  at  the  base  is 
a band  of  modern  flowers. 

In  the  clerestory  of  the  Choir  of  La  Trinite  at 
Vendome  are  five  windows  of  modern  grisaille, 
three  of  which  have  a lovely  coloured  band  of 
ancient  figures  across  the  centre.  Four  out  of  the 
five  are  of  the  beginning  of  the  fourteenth  century, 
but  the  central  east  window  contains  a celebrated 
panel  of  the  end  of  the  twelfth  century ; in  the 
centre  of  this  panel  is  a Vesica -shaped  aureole 
framing  the  Holy  Trinity  of  God  the  Father,  the 
Crucified  Christ,  and  the  Holy  Dove ; around  this 
are  four  half  medallions  with  the  winged  creatures 
of  the  four  Evangelists.  In  the  two  windows  on 
the  north  side  the  figures  at  present  do  not  form 
a central  band,  but  are  at  the  base ; but  these 
windows  will  soon  be  rearranged  with  the  figures 

O O 


vendOme— la  trinity 


149 


in  the  centre.  Above  the  figures  on  the  right  is 
a large  Renaissance  picture  which  has  no  connection 
with  the  fourteenth-century  figures  below  it. 

In  the  central  east  window  of  the  triforium  of  the 
Choir  is  a Renaissance  Virgin  and  Child  between 
two  figures. 

The  church  of  La  Trinite  is  classed  as  a Monu- 
ment Historique.  Consequently  the  windows  have 
been  sent  to  the  Beaux-Arts  in  Paris  for  restoration. 
It  is  said  that  some  of  this  glass  has  been  retained, 
lost,  or  stolen,  and  not  returned,  just  as  in  the  case 
of  the  centre  of  the  window  on  the  south  side  at  St 
Julien  du  Sault  (p.  233).  It  is  certainly  much  to  be 
desired  that  classed  churches  should  in  every  case 
photograph  their  glass  before  it  leaves  the  church 
for  restoration,  as  was  done  at  St  Urbain  in  Troyes 
with  a most  satisfactory  result. 


150 


CHAPTER  XXII. 

TOURS  CATHEDRAL. 

Forty-two  miles  from  Vendome  is  Tours,  where 
the  cathedral  of  St  Gatien  contains  nine  medallion 
windows  of  the  thirteenth  century,  in  the  three 
eastern  apse  chapels.  In  the  clerestory  of  the  choir 
are  fifteen  windows,  of  which  thirteen  are  filled 
with  medallions  instead  of  the  large  figures  usual 
in  clerestory  glass  of  the  thirteenth  century.  In 
the  eastern  triforium  of  the  choir  are  five  windows 
of  the  thirteenth  century  filled  with  large  figures. 
In  the  transepts  are  roses  of  the  fourteenth  century. 
On  the  south  side  of  the  nave  is  one  window  of  the 
fifteenth  century.  In  the  triforium  of  the  nave  are 
three  windows  of  the  fifteenth  century,  and  at  the 
west  end  is  a rose  of  the  sixteenth  century  with 
a window  of  eight  lights  below.  So  that  there  are 
in  all  thirty-six  windows  filled  with  ancient  coloured 
glass,  besides  those  which  contain  grisaille. 

In  the  north-east  chapel  are  three  windows  of  the 
thirteenth  century  containing  the  finest  coloured 
glass  in  the  Cathedral : they  come  from  the  ancient 
Church  of  St  Martin ; their  subjects  are  the  history 


TOURS  CATHEDRAL 


151 


of  St  Peter,  St  James,  and  St  Andrew,  but  the 
pictures  are  much  mixed  and  difficult  to  under- 
stand. 

In  the  central  Lady  Chapel,  in  the  window  to  the 
left,  north  of  the  centre,  is  the  History  of  the  Virgin 
and  the  Child  Jesus,  beginning  with  the  Annuncia- 
tion and  ending  with  the  Flight  into  Egypt.  The 
pictures  are  clear,  but  much  of  the  glass  is  new. 
The  subject  of  the  central  east  window  of  the  Lady 
Chapel  is  La  Nouvelle  Alliance  of  the  Gentiles  and 
the  Church,  like  that  of  the  windows  in  Le  Mans, 
Chartres,  and  Bourges  (pp.  109,  123,  194).  The 
lower  half  of  the  window  is  mostly  new  ; but  in  one 
of  the  lowest  compartments  is  a picture  in  ancenit 
glass  of  Cain  killing  Abel.  In  the  second  central 
medallion  is  Christ  bearing  His  Cross,  and  on  one 
side  is  Jonah  issuing  from  the  whale's  mouth,  and 
on  the  other  is  Elisha  resuscitating  the  child  of  the 
Shunammite  woman.  In  the  third  medallion  is  the 
Crucifixion  surrounded  by  pictures  of  the  Brazen 
Serpent,  Moses  striking  the  rock,  David  and  a Peli- 
can, and  the  Lions  of  the  tribe  of  Judah.  In  the 
fourth  medallion  is  the  Resurrection,  with  Roman 
soldiers  below  and  angels  at  the  two  sides.  In  the 
uppermost  medallion  is  Christ  in  glory  with  ador- 
ing Seraphim  above  and  on  both  sides,  while  below 
are  two  human  beings  rising  from  their  tombs. 

The  window  to  the  right  in  the  Lady  Chapel  has 
very  clear  pictures  of  the  Passion,  including  the 
Last  Supper,  Christ  washing  the  Apostles'  feet, 
Christ  seized  in  the  Garden,  the  Scourging,  Christ 
before  Pilate,  and  Christ  carrying  the  Cross.  Then 


152 


STORIED  WINDOWS 


comes  the  very  unusual  appearance  of  two  pictures 
of  the  Crucifixion  side  by  side ; in  the  first  is  the 
Soldier  piercing  Jesus’  side,  and  in  the  second  is 
His  death.  Above  these,  is  Christ’s  visit  to  the 
Spirits  in  prison,  His  Resurrection,  the  Maries  and 
the  Angel  at  the  tomb,  Jesus  and  Mary  Magdalene, 
Jesus  meeting  His  disciples,  the  feast  at  Emmaus, 
the  incredulity  of  Thomas,  and  Christ  meeting  two 
men,  one  in  a ship. 

The  south-east  chapel,  to  the  right  of  the  Lady 
Chapel,  known  as  the  chapel  of  St  Martin,  contains 
three  brilliant  transitional  windows  of  the  end  of 
the  thirteenth  century  with  narrow  borders.  In 
the  two  lateral  windows  are  very  clear  pictures, 
a good  deal  restored,  which  give  the  legend  of 
St  Martin  with  a realism  which  is  almost  comic. 
In  the  first  window  on  the  left,  in  the  two  medal- 
lions at  the  base  St  Martin  divides  his  cloak,  to  the 
admiration  of  a crowned  Emperor  between  two 
men.  In  the  next  two  medallions  St  Martin  raises 
a dead  man.  In  the  fifth  he  is  tripped  on  the  stairs 
by  a demon  but  saved  by  an  Angel.  The  figure  of 
St  Martin  in  this  picture  much  resembles  the  well- 
known  portrait  of  the  Abbot  Suger,  at  St  Denis, 
which  is  illustrated  in  Westlake,  vol.  i.  p.  27.  This 
forms  an  additional  argument  in  favour  of  the 
theory  that  the  early  glass  in  the  west  of  France 
was  all  done  by  artists  of  the  School  of  St  Denis. 
In  the  sixth  medallion  a Bishop  administers  the 
Holy  Communion  to  St  Martin.  In  the  seventh 
the  pagan  tree  is  being  cut  down,  which  miracu- 
lously falls  away  from  St  Martin.  Next  he  is 


TOURS  CATHEDRAL 


153 


baptising  a man  (probably  the  tree-cutter).  He 
appears  before  a King.  He  is  in  bed  with  an  Angel 
by  his  side. 

The  central  window  of  St  Martin’s  chapel  was 
inserted  in  1812  from  the  desecrated  church  of 
St  Julien.  It  is  much  restored,  and  contains  the 
legend  of  St  Julian  and  St  Ferreol,  the  first  Bishop 
of  Besanjon. 

The  third  window  of  the  chapel  of  St  Martin  on 
the  south  to  the  right  continues  the  legend  of  St 
Martin.  In  the  first  medallion  is  the  crowned 
Virgin  and  two  women  by  the  bedside  of  a sick 
man ; in  the  second  St  Martin  drives  a red  demon 
out  of  a possessed  man’s  mouth ; in  the  third  St 
Martin  pulls  at  a man’s  mouth,  but  a foul  fiend 
issues  behind ; in  the  fourth  and  fifth  he  is  con- 
secrated by  three  bishops  and  celebrates  Mass ; 
in  the  sixth  are  three  priests  at  the  bedside  of  the 
dying  saint ; in  the  seventh  St  Martin’s  body  on 
a bier  is  being  carried  by  two  men  through  the 
window  of  a tower ; in  the  eighth  his  body  is  on 
a ship  going  to  Tours ; in  the  ninth  and  tenth  St 
Martin’s  body  is  borne  to  the  tomb  by  a crowd  of 
men.  The  seventh  and  eighth  medallions  refer  to 
the  legend  that  the  men  of  Poitou  tried  to  keep 
the  body  of  St  Martin,  who  died  at  Candes, 
but  the  people  of  Tours  stole  the  body  through 
the  church  window  and  took  it  by  river  to 
Tours. 

Since  St  Martin  of  Tours  is  the  most  famous 
Saint  of  France,  it  is  not  surprising  that  his  story 
should  be  twice  told  in  the  choir  clerestory  and 


154 


STORIED  WINDOWS 


in  the  apsidal  chapel  of  Tours  Cathedral  by  the 
glass-workers  of  the  thirteenth  century.  But  the 
two  windows  of  St  Martin  in  the  chapel  are  half 
a century  later  than  the  window  in  the  clerestory, 
having  been  removed  from  the  clerestory  of  the 
south  transept. 

In  the  choir  clerestory  of  Tours  are  fifteen 
windows  of  the  thirteenth  century  between  1260 
and  1270,  Five  windows  on  each  side  have  four 
lights,  and  the  five  eastern  windows  have  three 
lights. 

The  first  window  on  the  north  side  has  the 
legend  of  St  Thomas  in  the  first  two  lights  on  the 
left.  In  the  first  medallion,  Gundoforus,  King  of 
India,  sends  Abanes  to  search  for  an  architect. 
In  the  second  and  third  Jesus  appears  to  St 
Thomas  and  presents  him  to  Abanes.  In  the 
fourth  they  embark  on  a golden  ship.  In  the 
seventh  a lion  devours  a cup-bearer  who  had 
insulted  St  Thomas.  In  the  ninth  and  tenth 
Gundoforus  gives  treasure  to  St  Thomas  to  build 
a palace,  but  he  builds  a mansion  in  the  skies  by 
distributing  the  treasure  among  the  poor.  In  the 
twelfth  St  Thomas  is  martyred  with  a sword. 
In  the  second  two  lights  are  pictures  of  the  story 
of  St  Stephen,  given  by  Vincent  de  Pirmil,  Arch- 
bishop of  Tours  from  1257  to  1270,  whose  arms 
are  on  two  shields  at  the  base.  In  the  third 
medallion  Stephen  is  ordained  deacon.  In  the 
fifth  and  sixth  he  is  stoned  in  presence  of  Saul 
and  another  man,  who  are  guarding  clothes  before 
the  seated  High  Priest.  In  the  seventh  and  eighth 


TOURS  CATHEDRAL 


155 


St  Stephen  is  buried  before  the  weeping  people.  In 
the  ninth  Gamaliel  appears  to  Lucian  to  reveal  the 
secret  of  St  Stephen’s  tomb.  In  the  eleventh  and 
twelfth  they  exhume  the  body  of  St  Stephen  and 
transport  it  to  Jerusalem. 

The  second  window  on  the  north  side  of  the 
clerestory  at  Tours  has  the  legend  of  St  Denis  in  the 
first  two  lights  on  the  left.  In  the  two  medallions 
at  the  top,  St  Denis,  after  being  decapitated,  has  a 
fresh  head  on  his  shoulders,  while  he  is  carrying  his 
severed  head,  under  the  guidance  of  an  Angel,  to 
Montmartre.  The  other  two  lights  contain  the 
legend  of  St  Vincent,  probably  because  this  window 
was  also  given  by  Vincent  de  Pirmil.  In  the  four 
uppermost  medallions  St  Vincent  dies ; his  soul  is 
carried  upwards  by  angels  ; his  body  is  thrown  into 
the  sea ; and  when  washed  ashore  it  is  protected  by 
a raven  from  a wild  beast. 

The  third  window  has  a larger  proportion  of  white 
glass.  It  contains  the  legend  of  St  Nicolas  in 
twenty-four  medallions.  In  the  four  medallions  in 
the  second  line  from  the  top,  on  the  left,  St  Nicolas 
protects  his  church  from  being  burnt  by  the  demon’s 
oil  by  commanding  the  pilgrims  to  throw  the  flask 
into  the  sea.  On  the  right  the  innkeeper  murders 
three  young  men,  and  St  Nicolas  resuscitates  them 
from  the  salting  tub. 

The  fourth  window  is  of  great  beauty  and 
interest.  At  the  base  are  donors  ploughing,  for 
it  was  given  by  the  Ploughmen.  The  window 
contains  scenes  from  the  book  of  Genesis.  In  the 
second  row  at  the  base,  starting  from  the  left,  are  : 


156 


STORIED  WINDOWS 


the  Creation  of  the  Sun ; Creation  of  Eve  ; God's 
warning  to  Adam  and  Eve ; and  the  taking  of  the 
forbidden  fruit.  In  the  third  row  they  appear  with 
fig-leaves  and  God  rebukes  them  ; the  Angel  drives 
them  out  of  Paradise ; God  gives  them  skins : 
“Adam  delved  and  Eve  span."  In  the  next  eight 
medallions  is  the  story  of  Cain  and  Abel;  and  in 
the  four  at  the  top  are  the  scenes  of  violence  which 
led  to  the  Deluge. 

The  fifth  window  on  each  side  of  the  choir 
clerestory  contains  figures  instead  of  medallions. 
On  the  north  side  is  the  window  of  the  Bishops. 
It  contains  eight  Bishops  of  Tours,  two  in  each  of 
the  four  lights,  separated  by  bands  of  grisaille,  with 
grounds  of  alternate  ruby  and  sapphire  of  fine 
colour.  Each  light  has  a border  of  Golden  Castles 
on  red.  Six  of  the  heads  seem  to  have  been 
restored. 

The  sixth  window  is  of  three  lights  with  clear 
pictures  which  are  not  overcrowded.  It  is  inscribed 
on  the  base  at  the  left,  Sacoh  $tanet,  being 
given  by  Jacques  de  Guerande,  who  was  Bishop  of 
Nantes  from  1260  to  1270.  The  subject  is  the 
history  of  St  Peter.  The  two  lower  roses  contain 
the  Annunciation,  and  in  the  topmost  rose  is  the 
Visitation. 

The  seventh  window  contains  uninteresting  pic- 
tures of  the  dull  legend  of  St  Maurice  in  very  fine 
glass. 

The  eighth  (central  East)  window  of  the  clerestory 
in  the  choir  of  Tours  has  bright  clear  pictures  of  the 
Passion.  In  the  left-hand  medallion  at  the  base  is  the 


TOURS  CATHEDRAL 


157 


donor ; in  the  other  two  medallions  Christ  is  enter- 
ing Jerusalem  while  spectators  climb  trees.  In  the 
second  row  is  a single  picture  of  the  Last  Supper, 
which  anticipates  the  style  of  later  times  by  ignor- 
ing the  mullions.  In  the  third  row  are  : the  Kiss 
of  J udas ; the  Scourging ; the  carrying  the  Cross. 
In  the  fourth  row  is  a single  picture  of  the  Cruci- 
fixion. In  the  fifth  row  is  the  entombment ; the 
visit  to  the  Spirits  in  prison ; the  Spirits  delivered 
from  the  flaming  mouth  of  the  Monster.  In  the 
sixth  row  is  the  Angel  at  the  Tomb ; the  Holy 
Women ; Mary  Magdalene  and  Christ.  In  the 
roses  are  the  glorified  Christ  at  the  top,  and  St 
Maurice  and  St  Gatien  in  the  two  below. 

The  ninth  window,  south  of  the  central  east,  con- 
tains a magnificent  Jesse  tree  with  pictures  which 
can  be  clearly  seen  with  a field-glass.  In  the  lowest 
row  are  the  donor  and  his  wife,  with  a furriers  shop 
between  them.  Above  this,  in  five  central  medal- 
lions, are  Jesse,  David,  Solomon,  the  Virgin,  and 
Jesus,  with  three  doves  above  His  head.  In  the 
side  medallions,  instead  of  the  usual  Prophets,  are 
scenes  from  the  New  Testament.  On  each  side  of 
Jesse  are  the  Annunciation  and  the  Visitation. 
Above  these  on  the  left  are  the  Shepherds,  and 
on  the  right  is  a very  curious  picture  of  Mary  and 
Joseph  and  the  Swaddled  Child,  who  is  being  kept 
warm  by  the  heads  of  an  Ox  and  an  Ass.  At 
Thornhill,  in  Yorkshire,  is  a Nativity  of  late  fif- 
teenth century,  with  the  heads  of  an  Ox  and  an  Ass. 
In  the  fourth  row  are  : Herod  and  the  Magi ; the 
Magi  riding  off.  Above  these  are  : the  offerings  of 


158 


STORIED  WINDOWS 


the  Magi ; the  Presentation.  In  the  top  row  are 
the  Massacre  of  the  Innocents  ; the  Flight  into 
Egypt.  Day,  in  ‘Windows/  1st  edition,  p.  361, 
says  that  it  is  difficult  to  make  out  these  scenes 
with  any  certainty.  But  they  are  fairly  clear  when 
patiently  examined  with  a field-glass. 

The  tenth  window  is  inscribed  &or*  jfEt*, 

being  given  by  Albinus,  Abbot  of  Cormery-en- 
Touraine,  who  is  presenting  his  window  in  the 
right-hand  medallion  at  the  base.  The  subject 
is  the  story  of  St  Martin  of  Tours.  In  the  first 
row  on  the  left  is  the  young  Martin ; who  in  the 
central  picture  divides  his  cloak  with  the  beggar. 
In  the  second  row  Jesus  thanks  the  sleeping 
Martin  ; who  is  baptised ; and  the  bestial  demons 
flee.  In  the  third  row  Martin  is  visited  by  an 
Angel ; he  is  consecrated  Bishop ; and  attacked  by 
robbers.  In  the  fourth  row  St  Martin  raises  the 
dead ; causes  the  pagans’  idolatrous  tree  to  be  cut 
down  and  fall  in  the  opposite  direction ; drives 
a demon  out  of  a possessed  man.  In  the  fifth  row 
he  celebrates  Mass ; he  is  tripped  by  a demon  on 
the  stairs  and  saved  by  an  Angel ; he  has  a vision 
of  three  Saintly  Virgins.  In  the  top  row  St 
Martin  dies ; his  body  is  taken  from  Candes 
through  a window,  and  transported  to  Tours  in 
a boat. 

The  eleventh  window  is  the  first  of  four  lights 
on  the  South  side  of  the  choir  clerestory  of  Tours. 
It  corresponds  to  the  window  of  the  Bishops,  and 
contains  the  Preshttert  3Lori)enSCS,  or  Priests  of 
Loches ; in  the  lower  medallion  on  the  right  is 


TOURS  CATHEDRAL 


159 


the  town  of  Loches,  with  two  royal  standards  of 
France  at  the  top,  showing  that  the  window  is 
posterior  to  1259,  when  Henry  III.  ceded  Touraine 
to  St  Louis.  In  the  upper  left-hand  medallion  is 
the  Virgin  and  Child.  In  the  Rose  is  Christ 

showing  His  five  wounds.  In  this  window  all  the 

heads  with  one  exception  seem  to  be  original. 

The  twelfth  is  a window  of  rich  colour  with  the 

dull  legend  of  St  JSarttaL 

The  thirteenth  is  a beautiful  window  with  the 
story  of  St  James. 

The  fourteenth  contains  the  history  of  St  John 
the  Evangelist ; but  the  first  five  medallions  at  the 
base  and  four  others  contain  scenes  of  the  life  of 
St  John  the  Baptist. 

The  last  window  on  the  south  side  of  the  clere- 
story contains  the  legend  of  St  Eustache.  In  the 
first  two  medallions  at  the  base  he  is  hunting  a 
stag ; in  the  third  and  fourth  he  is  gazing  in 
amazement  at  the  head  of  Christ,  which  appears 
between  the  horns  of  the  stag,  instead  of  the 
crucifix  which  is  usual  in  pictures  of  the  conversion 
of  St  Eustache — as,  for  instance,  in  the  window  in 
St  Patrice  at  Rouen  described  on  p.  74. 

The  triforium  of  the  choir  has  five  windows  of 
three  lights  each  at  the  east  end,  with  single  figures 
of  the  thirteenth  century ; in  the  middle  is  the 
Virgin  between  two  Angels  with  six  Apostles  on 
each  side. 

The  western  Rose  is  not  circular,  but  approaches 
a lozenge  shape.  It  is  glazed  with  a sixteenth-cen- 
tury picture  of  the  Lamb  in  a golden-rayed  aureole, 


160 


STORIED  WINDOWS 


surrounded  by  adoring  worshippers.  In  the  window 
below  are  eight  saints  under  large  canopies,  of  the 
end  of  the  fifteenth  century,  of  whom  the  first  is  St 
Laurence,  with  his  grill ; and  the  second  is  St  Denis, 
with  his  severed  head ; and  the  others  are  St  John, 
the  Virgin,  the  Baptist,  St  Martin,  St  Martial,  St 
Nicolas.  Below  these  are  eight  more  lights  with 
very  fine  portraits  of  donors  of  the  family  of  Laval- 
Montmorency,  who  are  being  introduced  by  their 
patron  saints  (see  illustration). 

The  lovely  north  Rose  belongs  to  the  early  part 
of  the  fourteenth  century.  In  the  centre  an  endless 
Knot  symbolises  the  Deity.  There  are  three  circles 
of  medallions  in  the  delicate  stonework  filled  with 
Angels,  Elders,  Kings,  Pontiffs,  Patriarchs,  Prophets, 
Apostles,  Martyrs,  and  Virgins.  Unfortunately,  it 
has  been  found  needful  to  support  it  with  a tall 
stone  column  which  goes  right  up  the  centre. 
Below  the  north  rose  are  twelve  lights  filled,  as 
the  canopies  show,  from  five  different  windows. 
The  first  two  lights  on  right  and  left  contain  small 
figures.  The  next  four  have  full-sized  figures  of  St 
Louis  in  a blue  robe,  with  fleurs-de-lis  ; St  Michael, 
St  Gatien,  and  a crowned  Virgin  and  Child.  These 
are  of  latest  fifteenth  century,  removed  from  the 
nave.  The  next  four  pictures  are  a second  Virgin 
and  Child ; a Saint  presenting  to  her  a kneeling 
Bishop ; a mitred  Saint  presenting  two  kneeling 
figures ; and  five  kneeling  figures ; these  four  are 
evidently  from  a different  window,  as  they  have 
much  more  white,  and  all  have  the  same  canopy, 


TOURS  CATHEDRAL. 

Base  of  West  Window.  Donors  of  Laval-Montmorency  Family 
with  Patron  Saints.  End  of  XVth  Century. 


TOURS  CATHEDRAL 


161 


which  differs  from  the  four  other  pairs  of  canopies. 
The  figures  all  deserve  careful  examination.  There 
are  eight  princes  and  princesses  of  that  family  of 
Bourbon  - Yendome  which  gave  the  Chapelle 
Vendome  in  Chartres  Cathedral. 

The  south  Rose,  like  the  west,  is  not  a true 
circle,  but  approaches  the  lozenge  shape.  It  is 
filled  with  fragments  of  very  beautiful  glass  of  the 
fourteenth  century.  But,  with  the  same  stupidity 
as  at  Alengon,  it  is  obscured  by  ugly  organ  tops, 
and  a whole  window  behind  the  organ  has  been 
blocked  with  stone. 

The  third  window  with  tall  canopies,  on  the 
south  side  of  the  nave  starting  from  the  west, 
is  of  the  fifteenth  century.  In  the  four  lights  are 
shields  supported  by  two  donors,  man  and  wife  ; 
the  two  outer  shields  are  of  Clermont  de^Nesle, 
and  the  two  inside  of  Saint  Julien  de  Tours. 

In  the  triforium  of  the  nave  is  grisaille,  with 
the  exception  of  two  windows  on  the  north  and 
one  on  the  south,  which  contain  glass  of  late 
fifteenth  century. 

Day,  in  4 Windows/  1st  edition,  p.  390,  says : 
“ The  clerestory  of  the  choir  at  Tours  is  most  com- 
pletely furnished  with  rich  Early  Decorated  Glass 
of  Transitional  character,  interesting  on  that 
account,  and  at  the  same  time  most  beautiful 
to  see.”  This  statement  does  not  seem  accurate  of 
the  clerestory  windows  of  the  choir,  because  they 
are  not  later  than  1270.  But  the  two  windows  of 
St  Martin  in  the  apsidal  chapel  may  be  regarded  as 

L 


162 


STORIED  WINDOWS 


transitional,  because  their  date  is  not  earlier  than 
the  very  end  of  the  thirteenth  century,  and  they 
are  probably  a few  years  later  than  1300,  and 
therefore  they  belong  to  the  beginning  of  the 
“ Decorated  ” period  of  the  fourteenth  century. 


163 


CHAPTER  XXIII. 

CHAMPIGNY-SUR-VEUDE. 

On  the  way  from  Tours  to  Angers  it  is  worth  while 
to  turn  aside  to  the  great  ruined  castle  of  Chinon  so 
as  to  visit  the  glass  at  Champigny-sur-Veude,  which 
is  nine  miles  from  Chinon.  The  Sainte  Chapelle 
stands  in  a beautiful  park  belonging  to  the  Chateau, 
which  is  more  modern  than  the  Chapel  because  Car- 
dinal de  Richelieu  used  the  stone  of  the  old  Chateau 
as  building  materials  for  his  Chateau  at  Richelieu 
four  miles  off.  The  whole  chapel  is  bright  and  light 
and  gives  a most  pleasing  impression,  because  it 
is  completely  glazed  with  Renaissance  glass  all  of 
one  period  with  much  white  but  plenty  of  bright 
colour.  A careful  examination  of  the  outside 
shows  that  most  of  the  glass  is  original,  with  com- 
paratively little  restoration  except  in  the  East  and 
North-east  windows,  which  contain  much  new  glass, 
the  Crucifixion  at  the  East  being  almost  entirely 
modern.  The  perfect  Renaissance  building  seems 
to  have  escaped  the  ravages  of  the  Revolution. 
There  are  twelve  windows,  four  on  each  side,  three 
at  the  east  end,  and  one  at  the  west. 


164 


STORIED  WINDOWS 


The  windows  are  in  three  parts.  In  the  tracery 
are  scenes  of  the  Life  of  Christ ; in  the  centre  is  the 
life  of  St  Louis ; and  at  the  base  are  portraits  of 
donors  of  great  historic  interest.  The  inscriptions 
in  the  windows  are  quite  clear. 

In  the  first  window  on  the  north  in  the  tracery 
is  Christ  in  the  Garden  of  Gethsemane ; in  the 
centre  is  the  coronation  of  St  Louis,  inscribed — 

“ Coment  le  roi  sainct  Loys  en  laage  de  treize 
Ans  fut  sacr6  en  leglise  de  Reins  par  levesque 
De  Soissons,  le  sikge  arch  Episcopal  de  Reins  vacant. 
Presens  les  Pers  et  Princes  de  France.” 

“ How  the  king  saint  Louis  at  the  age  of  thirteen  years  was 
crowned  in  the  church  of  Reims  by  the  bishop  of  Soissons, 
the  archbishop’s  chair  at  Reims  being  vacant,  present  the 
Peers  and  Princes  of  France.” 

At  the  base  are  portraits  of  Louis  Cardinal  de 
Bourbon  and  of  Claude  Cardinal  de  Givri,  Evesque 
et  Due  de  Langre,  Per  de  France  Qui  a donne  les 
vitres  de  cestes  Chapelle — i.e.,  “ Claude,  Cardinal  de 
Givry,  Bishop  and  Duke  of  Langres,  Peer  of  France, 
who  gave  the  windows  of  this  chapel.,, 

At  the  base  of  each  of  the  other  seven  windows 
on  the  north  and  south  sides  are  four  beautifully 
clear  portraits.  The  second  window,  which  is  the 
finest  in  the  chapel,  has  the  Kiss  of  Judas ; Blanche 
of  Castille  entrusting  the  education  of  her  son  St 
Louis  to  the  authorities,  spiritual  and  temporal ; 
and  portraits  of  Suzanne  de  Bourbon,  Charles  due 
de  Bourbon,  Claire  de  Gonzague,  and  Gilbert  de 
Bourbon. 

In  the  third  window  is  Christ  before  Pilate ; the 


CHAMPIGNY-SUR-VEUDE 


165 


transfer  of  the  Relics  to  the  Sainte  Chapelle  in 
Paris ; portraits  of  Gabrielle  de  la  Tour,  Louis  de 
Bourbon,  Marie  de  Berry,  and  Jean  due  de  Bourbon. 

In  the  fourth  window  is  the  Scourging  of  Jesus ; 
St  Louis  receiving  a whipping  as  discipline,  eating 
the  remnants  of  the  food  of  the  poor,  and  washing 
their  feet ; portraits  of  Anne  Comtesse  de  Forest, 
Louis  de  Bourbon,  Isabeau  de  "Valois,  and  Pierre 
de  Bourbon. 

There  are  only  two  portraits  in  each  of  the 
three  windows  at  the  east.  In  the  north-east 
window  is  Christ  carrying  the  Cross ; St  Louis 
vowing  the  Crusade ; portraits  of  Louis  due  de 
Bourbon  and  Marie  de  Hainault.  And  the  in- 
scription (£g  apr est  la  genealogte  tie  la  matsoit 
tie  Bourbon  et  tie  fRontpntster* 

In  the  central  east  window  there  is  no  scene  of 
the  life  of  St  Louis.  In  the  tracery  is  the  Creation, 
in  the  centre  the  Crucifixion,  at  the  base  St  Louis 
and  Queen  Marguerite. 

In  the  south-east  window  is  the  Resurrection ; 
the  embarkation  at  Aigues  Mortes ; portraits  of 
Robert  de  France,  Comte  de  Clermont,  and  of 
Beatrix  de  Bourgogne,  and  the  inscription  Cg 
apres  rst  la  gencalogtr  be  la  matron  be  Fenbosme 
et  be  Harocfje  sur  go n. 

The  noble  dames  on  the  north  side  have  homely 
faces  very  much  alike.  Those  on  the  east  and  south 
are  better  looking,  with  more  distinctive  character ; 
but  the  scenes  of  the  life  of  St  Louis  on  the  south 
are  less  vivid  than  the  others. 

In  the  first  window  on  the  south  is  Jesus  appear- 


166 


STORIED  WINDOWS 


ing  to  Mary  Magdalene  ; the  capture  of  Damietta ; 
portraits  of  Jacques  de  Bourbon,  Jeanne  de  Saint 
Pol,  Jean  de  Bourbon,  and  Catherine  Comtesse  de 
Vendosme. 

In  the  second  window  on  the  south  is  Christ  at 
Emmaus ; the  battle  of  Massourah : portraits  of 
Louis  de  Bourbon  and  his  wife  Jeanne  de  Laval, 
Jean  II.  de  Bourbon,  Isabeau  de  Bourbon. 

In  the  third  window  on  the  south  is  the  Ascen- 
sion ; the  return  of  St  Louis  from  the  Crusade ; 
portraits  of  Louis  de  Bourbon,  Louise  de  Bourbon, 
Louis  de  Bourbon  the  first  Duke  of  Montpensier, 
and  his  wife  Jacqueline  de  Longwy. 

In  the  last  window  on  the  south  is  the  descent 
of  the  Holy  Ghost ; the  death  of  St  Louis  before 
Tunis ; portraits  of  Frangois  de  Bourbon,  Renee 
d’ Anjou,  Henri  de  Bourbon,  and  Catherine,  Duchesse 
de  Joyeuse. 

At  the  west  end  is  a round  window  with  Charle- 
magne between  St  John  and  St  James. 


167 


CHAPTER  XXIY. 

ANGERS. 

From  Chinon  through  Port  Boulet  to  Angers  is 
fifty-five  miles.  The  cathedral  of  St  Maurice  at 
Angers  is  a spacious  cruciform  basilica,  with  no 
aisles  but  very  large  wide  transepts. 

Unhappily  the  view  of  the  Choir  is  cut  off  by  a 
huge  unwieldy  altar,  fifty-six  feet  high,  of  the 
eighteenth  century,  which  is  entirely  out  of 
harmony  with  a Romanesque  church.  It  was 
erected  in  1757,  and  under  the  second  Empire  it 
was  proposed  to  remove  it  to  the  Pantheon  in 
Paris,  but  unluckily  this  was  not  done,  and  it  still 
disfigures  the  church  and  obstructs  the  view  of  the 
glass.  The  Nave  of  St  Maurice  is  an  instance  of 
the  stupid  ignorance  of  the  Philistine  Chapters  in 
the  middle  of  the  eighteenth  century,  who  de- 
stroyed ancient  glass  and  replaced  it  with  white 
glass  to  let  in  light,  as  was  done  with  such  fatal 
effect  at  Reims  and  in  Notre  Dame.  But  fortu- 
nately in  St  Maurice  enough  remains  to  give  a most 
satisfactory  impression  of  old  glass  in  every  part  of 
the  church ; for  there  are  ten  windows  in  the  nave, 


168 


STORIED  WINDOWS 


five  in  each  transept,  and  sixteen  in  the  choir  which 
contain  ancient  glass,  making  in  all  thirty-six  old 
windows. 

The  nave  of  Angers  Cathedral  is  justly  celebrated 
for  its  splendid  glass  of  the  twelfth  century,  which 
ranks  with  that  of  Chartres,  Le  Mans,  Reims,  St 
Denis,  Chalons,  Vendome,  and  Poitiers. 

The  first  window  on  the  north  side  of  the  nave  is 
mostly  filled  with  white  glass  of  1745,  but  in  this 
an  oblong  panel  is  set  which  has  a border  of  old 
grisaille  framing  a picture  of  the  Virgin  and  Child 
of  the  end  of  the  twelfth  century.  This  picture  was 
removed  from  the  choir  in  1832. 

The  second  window  has  a very  broad  border  of 
the  twelfth  century,  but  the  rest  is  filled  with  white 
glass  of  1745. 

The  third  is  a glorious  window  of  the  twelfth  cen- 
tury containing  the  history  of  St  Catherine  in  six 
clear  scenes,  with  a beautiful  background,  of  the 
light  translucent  celestial  blue  peculiar  to  the 
twelfth  century,  and  a very  broad  border  rendered 
brilliant  by  the  amount  of  interlaced  white. 

The  first  medallion  is  inscribed  Ptenteg  glfagj 
(depu  reversed)  = sapientes  depugnat,  “She  confounds 
the  wise  ” ; in  it  St  Catherine  disputes  with  the  doc- 
tors in  the  presence  of  the  Emperor  Maxentius. 

In  the  right  half  of  the  second  medallion 
Maxentius  condemns  St  Catherine ; in  the  left 
half  the  hand  of  God  points  to  St  Catherine,  and 
fire  from  heaven  destroys  the  razored  wheel  and 
overthrows  the  executioners. 

In  the  third  Christ  visits  St  Catherine  in  prison. 


ANGERS 


169 


In  the  fourth  St  Catherine  is  scourged  by  two  men 
in  the  presence  of  Maxentius.  In  the  left  half  of 
the  fifth  Catherine  is  seated  with  hands  bound  be- 
fore two  executioners  with  swords. 

In  the  right  half  Cater tna  is  beheaded.  In  the 
sixth  angels  bury  her  body,  and  one  holds  up  her 
head. 

The  fourth  window,  also  of  the  twelfth  century, 
contains  the  Death  and  Burial  of  the  Virgin.  In 
the  first  medallion  is  her  death  in  the  presence  of 
the  Apostles.  In  the  second  is  the  funeral  in  which 
the  body  is  carried  by  the  Apostles,  and  the  scene  is 
extended  into  the  border  by  two  half  medallions. 
The  third  represents  the  Apostles  miraculously 
transported  on  Clouds  to  the  dying  Virgin.  This 
should  be  placed  first.  In  the  fourth  (also  mis- 
placed) Jesus  blesses  His  Mothers  corpse.  In  the 
fifth  is  the  Assumption  of  the  Virgin  between  two 
Apostles  and  two  Angels : probably  this  is  the 
earliest  known  picture  of  the  Assumption ; it  is, 
however,  twice  represented  in  the  thirteenth-century 
windows  at  Chartres.  Unluckily  much  of  the  picture 
is  hidden  by  an  upright  stanchion.  In  the  sixth 
the  Crowned  Virgin  is  enthroned  beside  her  Son. 
Each  of  the  medallions  in  these  windows  is  bordered 
by  a simple  band  of  ruby  between  two  rows  of 
white  pearls,  like  the  Rivenhall  medallions  (p.  23). 

The  fifth  window  in  the  north  side  of  the  nave 
(also  of  twelfth  century)  has  a richly  coloured 
broad  border  with  much  interlaced  white.  It  has 
very  brilliant  pictures  of  the  legend  of  St  Vincent. 
In  the  left  half  of  the  first  medallion  the  Emperor 


170 


STORIED  WINDOWS 


Dacian  has  the  body  of  St  Vincent  thrown  into  the 
sea ; on  the  right  a raven  protects  the  corpse  from 
wild  beasts.  At  the  base  are  two  archers,  probably 
because  the  window  was  given  by  the  archers  to 
their  patron  St  Vincent.  In  the  second  medallion 
Christ  receives  the  soul  of  St  Vincent.  In  the 
third  two  angels  visit  St  Vincent  in  prison.  In  the 
fourth  St  Vincent  is  on  a grill  before  the  Emperor, 
while  two  men  stir  the  flames.  The  third  and 
fourth  are  connected  by  two  half  medallions  ex- 
tending into  the  border,  in  which  are  two  men 
watching  the  torture.  In  the  fifth  St  Vincent  is 
bound  to  a frame  between  four  executioners  with 
hooks  which  resemble  scourges.  In  the  sixth  the 
Emperor  ©actanfas  condemns  St  Vincent.  The 
medallions  should  be  rearranged  so  as  to  give  a 
consecutive  story.  These  three  beautiful  windows 
are  among  the  best  of  the  twelfth  century. 

The  last  window  on  the  north  side  of  the  nave, 
next  to  the  north  transept,  contains  a pattern  of 
poor  modern  glass  of  1833. 

On  the  south  side  of  the  nave  the  seventh 
window,  next  to  the  south  transept,  contains 
modern  glass,  like  that  in  the  sixth  window 
opposite  to  it.  The  eighth  window  is  inserted 
from  the  Chateau  du  Verger  in  place  of  the  twelfth- 
century  window  which  the  senseless  Chapter  de- 
stroyed in  1765.  It  is  a Renaissance  window  of 
the  sixteenth  century,  but  was  restored  in  1818. 
The  uppermost  scene  is  the  Crucifixion,  beneath 
which  is  a view  of  Rome  with  the  dome  of  St 
Peters.  Below  this  is  the  Castle  of  St  Angelo 


ANGERS 


171 


with  St  Michael  and  St  Gregory  the  Pope.  At 
the  base  are  patron  saints  and  the  family  of  Pierre 
de  Rohan,  the  owner  of  the  Chateau  du  Verger  (who 
is  depicted  as  singing  in  the  wonderful  tapestry 
picture  in  the  Museum  at  the  Eveche,  which  came 
from  the  Chateau  du  Verger). 

The  ninth  window  has  most  of  the  twelfth-cen- 
tury border,  and  several  pictures  of  the  twelfth 
century  filled  up  with  thirteenth-century  glass 
from  the  Choir,  so  that,  though  the  glass  is  very 
beautiful,  it  is  impossible  to  decipher  the  pictures. 

The  tenth  window  also  has  a twelfth-century 
border,  and  is  filled  with  equally  beautiful  glass  of 
the  twelfth  and  thirteenth  centuries ; but  it  con- 
tains such  a mixture  that  it  cannot  be  deciphered. 
The  eleventh  window  has  a border  of  the  twelfth 
century,  but  the  rest  is  filled  with  white  glass. 

The  last  window  on  the  south-west  of  the  nave 
of  Angers  has  a fine  full-length  Renaissance  figure 
in  the  centre  of  the  leader  of  the  Theban  legion, 
St  Mavritivs,  in  armour  holding  a lance.  In  the 
border  round  the  figure  are  several  small  heads. 

The  twelfth -century  medallions  of  the  nave  are 
interspaced  with  a conventional  floral  ornament 
unlike  the  usual  plaid  diaper  of  French  windows 
of  the  thirteenth  century ; and  their  superiority  to 
the  pictures  of  the  thirteenth  century  in  clearness 
of  drawing  and  design  becomes  manifest  when  the 
twelfth -century  medallions  of  the  nave  are  com- 
pared with  the  thirteenth-century  medallions  in 
the  Choir. 

In  the  west  wall  of  the  north  transept  are  two 


172 


STORIED  WINDOWS 


fine  windows  with  the  great  canopies  of  the  fifteenth 
century.  At  the  base  of  the  first  are  St  Remi  and 
Ste  Madeleine ; above  them  are  St  Christopher  in 
the  ford,  and  St  Eustache  gazing  upwards  but  also 
standing  on  water,  where  his  two  children  are  being 
carried  off,  one  by  a bear. 

In  the  second  window’  of  the  north  transept  are 
St  Gatien  and  St  Nicolas,  and  above  them  St  Sebas- 
tian and  St  Quentin,  a quaint  figure  in  the  attitude 
of  a clown. 

On  the  opposite  wall  of  the  north  transept  are 
two  rather  more  elaborate  windows  with  large  cano- 
pies of  late  fifteenth  century.  The  first  of  these 
nearest  to  the  Rose  has  at  the  top  a Crucifixion  of 
1499.  Below  this  are  two  Renaissance  pictures; 
the  central  one  is  rather  confused,  but  it  has  on 
the  right  St  John  and  a portrait  of  Jean  Michel, 
Bishop  of  Angers,  who  died  in  1447  and  is  buried 
below.  In  the  lowest  picture  St  Paul  presents  the 
kneeling  Bishop  Jean  de  Resly  (wrho  died  in  1499) 
to  the  Mater  Dolorosa  in  whose  lap  is  the  dead 
Christ.  At  the  base  is  a shield  with  the  arms  of 
Resly.  In  the  last  of  these  windows  in  the  north 
transept,  in  the  lower  part  are  St  Rene,  Bishop  of 
Angers,  and  St  Serene  in  the  scarlet  robe  of  a 
Cardinal ; above  are  <St  JSafarice  in  armour  with  a 
lance,  and  St  fHabrtl&S,  Bishop  of  Angers ; at  the 
base  are  two  figures  supporting  the  arms  of  Jean 
Michel. 

The  north  Rose  has  a Last  Judgment  of  the 
fifteenth  century,  with  Christ  the  Judge  in  the 
centre,  and  below  Him  three  white  pictures  of  ris- 


ANGERS 


173 


ing  dead ; there  is  an  outer  circle  of  medallions 
depicting  the  works  of  the  months.  This  rose  has 
a very  pleasing  flower -like  effect,  partly  owing  to 
the  large  proportion  of  white. 

In  the  south  transept  the  first  window  on  the 
east  wall  has  a pattern  of  inserted  glass  dated 
1780.  The  second  has  ten  oval  medallions  of  early 
fourteenth-century  glass,  with  a border  of  the  same 
period  on  each  side  of  the  window. 

The  great  Rose  of  the  south  transept  is  thirty- 
three  feet  in  diameter.  The  glass  belongs  to  the 
fifteenth  century.  In  the  centre  is  the  Eternal 
Father  in  majesty.  In  the  upper  half- circle  of 
medallions  are  the  signs  of  the  Zodiac;  in  the 
lower  half  are  twelve  Elders  crowned,  each  holding 
a bottle  and  a lute.  In  the  outer  circle  of  medal- 
lions are  angels.  The  whole  rose  is  very  bright  and 
harmonious  in  colour;  between  each  of  the  spokes 
is  a charming  conventional  flower -like  ornament, 
except  in  the  lowest  central  division  where  there  is 
a crowned  Virgin. 

The  window  to  the  west  of  the  south  Rose  has 
ten  oval  medallions  of  earliest  fourteenth  century, 
of  fine  blue  colour,  but  so  mixed  as  to  be  difficult 
to  decipher. 

The  last  window  in  the  south  transept  of  Angers 
Cathedral,  nearest  to  the  nave,  has  a coloured  pat- 
tern of  old  glass  similar  to  that  in  the  window 
opposite  to  it. 

In  the  choir  of  Angers  are  sixteen  windows,  of 
which  fourteen  contain  glass  of  the  thirteenth  cen- 
tury and  two  of  the  sixteenth.  All  the  medallions 


174 


STORIED  WINDOWS 


are  bordered  with  a band  of  ruby  between  white 
pearls,  but  the  Jesse  window  has  vesicas  of  simple 
white. 

The  first  window  on  the  north  side  of  the  choir 
is  remarkably  beautiful,  with  blue  predominating ; 
it  consists  of  seven  medallions  with  the  life  of  St 
Peter. 

In  the  first  medallion  is  St  Peter,  with  Nero  and 
Simon  Magus  and  some  demons. 

In  the  second  St  Peter  is  thrown  into  prison  by 
Herod  Agrippa. 

In  the  third  an  Angel  rescues  St  Peter  from 
prison. 

In  the  fourth  Jesus  calls  Peter. 

In  the  fifth  St  Peter  is  before  Nero. 

In  the  sixth  St  Peter  is  crucified  head  down- 
wards. 

In  the  seventh  is  an  Angel. 

In  the  second  window  of  the  choir  red  predom- 
inates ; the  second  medallion  from  the  base  has 
been  replaced  with  white  glass.  This  beautiful 
window  contains  the  legend  of  St  (Hot. 

In  the  third  window  on  the  north,  wThere  the 
apse  begins,  is  a huge  figure  of  St  Christopher  of 
the  sixteenth  century  from  the  Chateau  du  Verger. 
Below  this  are  four  busts  of  St  Peter.  St  Andrew, 
and  two  other  Apostles  from  the  same  place.  The 
fourth  window  contains  the  martyrdom  of  St 
Laurence. 

In  the  fifth  is  a fine  Jesse  tree  of  the  thirteenth 
century,  of  which  the  border  at  the  sides  is  formed 
of  prophets,  including  Moses,  Aaron,  and  Balaam. 


ANGERS 


175 


The  sixth  and  seventh  windows  are  composed  of 
half  medallions  containing  the  life  of  St  Julian, 
the  Bishop  of  Le  Mans.  At  the  base  of  the  seventh 
window  is  the  kneeling  donor,  Bishop  Guillaume  de 
Beaumont  (who  died  in  1240),  and  a shield  of  his 
arms. 

The  eighth  and  ninth  windows  of  the  choir  are 
in  the  centre  of  the  East  end.  They  contain  the 
Life  of  Jesus  Christ,  without  any  border.  All  these 
eight  windows  of  the  thirteenth  century  are  most 
beautiful,  although  not  easy  to  decipher. 

The  tenth  and  eleventh  windows,  south  of  the 
east,  contain  the  life  of  St  Martin,  but  they  have  a 
very  new  appearance,  having  been  renewed  almost 
out  of  existence  in  1857.  These  windows  have  no 
border,  and  have  probably  been  inserted  from  else- 
where. 

The  twelfth  and  thirteenth  likewise  have  no 
border,  and  also  contain  the  life  of  St  Martin.  In 
each  of  these  windows  is  one  circular  medallion 
among  diamonds  and  hexagons,  showing  that  they 
are  each  made  up  from  more  than  one  window. 

The  fourteenth  is  a window  of  the  latter  half  of 
the  sixteenth  century  from  the  Chateau  du  Verger. 
It  has  in  the  upper  half  a large  figure  of  St  Peter ; 
below  this  are  busts  of  St  John  the  Evangelist,  St 
James  the  Less,  St  Thomas,  and  St  James.  At  the 
base  is  a monk  with  a lantern  and  staff,  and  St 
Mathias  with  a Bishops  mitre. 

The  fifteenth  and  sixteenth  windows  have  the 
spaces  between  the  medallions  filled  with  floriation 
instead  of  the  monotonous  plaid  diaper  of  the  rest. 


176 


STORIED  WINDOWS 


The  fifteenth  window  contains  some  ancient  glass 
of  beautiful  colour,  but  there  is  also  much  new 
glass  which  does  not  harmonise  well  with  the  old. 
The  subject  is  the  story  of  St  Thomas  of  Cantor- 
bery.  The  fourth,  fifth,  and  sixth  medallions  from 
the  base  are  particularly  fine.  In  the  fifth  Becket 
is  disputing  with  Henry  the  Second.  In  the  sixth 
he  lies  dead. 

In  the  sixteenth  window  is  the  life  of  St  John 
the  Baptist,  with  much  new  glass  in  the  upper  half. 
Like  all  the  other  thirteenth -century  windows  in 
the  choir  of  Angers  Cathedral,  it  is  much  more  diffi- 
cult to  decipher  than  the  twelfth-century  windows 
on  the  north  side  of  the  nave. 

All  round  the  Cathedral  are  ancient  tapestries. 
A set  of  sixty-three  sections  with  scenes  from  the 
Revelations  was  given  by  King  Rene;  one  section 
when  sent  to  the  Exhibition  at  Ghent  was  insured 
for  £8000.  In  the  Eveche,  now  turned  into  a 
Museum,  are  some  of  the  finest  tapestries,  and  all 
are  stored  there  in  the  winter  in  a magnificent 
building  of  the  twelfth  century  in  perfect  repair. 
The  tapestries  in  the  Cathedral  are  hung  too  high 
to  be  readily  examined,  but  those  in  the  Eveche 
are  beautifully  placed  where  they  can  be  thoroughly 
inspected  at  close  quarters. 

In  the  ancient  church  of  St  Serge  at  Angers  there 
are  a few  small  windows  in  the  choir  containing 
grisaille,  which  is  assigned  to  the  twelfth  century ; 
and  in  the  clerestory  of  the  nave  are  six  windows, 
three  on  each  side,  filled  with  single  figures  under 
tall  canopies  of  the  fifteenth  century. 


177 


CHAPTER  XXY. 

POITIERS. 

Ninety  miles  from  Angers  is  Poitiers.  The  cathe- 
dral of  St  Peter  is  glazed  in  a very  unusual  way ; 
the  lower  walls  are  solid,  but  in  the  upper  part  of 
the  walls  is  a single  line  of  windows  all  round  the 
Cathedral.  There  are  nineteen  medallion  windows, 
of  which  sixteen  are  in  pairs.  In  the  nave  is  one 
pair  on  each  side  in  pointed  lancets ; all  the  rest 
are  in  round-arched  Romanesque  windows.  In  each 
transept  is  one  pair  on  the  west  wall  and  a second 
pair  on  the  terminal  north  and  south  walls,  with- 
out any  roses.  In  the  choir  there  is  a pair  on  each 
side,  and  three  windows  in  the  east  wall,  which  is 
straight  without  any  apse  shape,  as  at  Laon  and 
Moulins.  Besides  these  medallion  windows,  there 
are  two  old  grisaille  windows  in  the  nave,  and  in 
a window  on  the  south  side  of  the  choir  have  been 
inserted  four  fifteenth-century  figures  of  St  Andrew 
with  a cross  of  gold,  St  Antony  with  a crutch,  St 
John  the  Evangelist  without  a beard,  and  St  John 
the  Baptist  with  a flag. 

M 


178 


STORIED  WINDOWS 


From  twelve  of  the  windows  the  thirteenth -cen- 
tury medallions  at  the  base  have  been  removed,  and 
the  space  has  been  filled  with  very  trying  white 
glass,  which  makes  the  windows  look  as  if  they 
had  holes  in  them.  It  is  much  to  be  desired  that 
the  Beaux-Arts  should  replace  this  terrible  white 
glass  with  some  simple  old  coloured  glass.  Surely 
if  they  cannot  do  anything  else,  they  might  find 
some  ancient  white  glass  with  plenty  of  greenish 
tint  in  it.  In  all  the  medallion  windows  at  Poitiers 
the  story  begins  at  the  top. 

The  two  medallion  windows  on  the  north  side  of 
the  nave  contain  the  story  of  Joshua,  whose  antag- 
onists are  clad  in  the  costume  of  mediaeval  knights 
with  chain-mail.  The  first  of  these  two  windows 
has  scenes  from  Joshua,  chapters  x.  and  xi. 

At  the  top  in  the  centre  is  King  Adonizedek 
on  the  wall  of  J erusalem ; in  the  next  row  are 
Adonizedek  with  a golden  crown  and  three  other 
crowned  Kings,  with  Knights  charging  on  each 
side.  In  the  third  row  is  a prisoner  with  bound 
hands,  a fight  round  Adonizedek,  and  a town  on 
fire.  In  a fourth  row  a King  is  hanged,  and  an 
executioner  drives  a struggling  man  to  the  gibbet, 
and  Joshua  offers  sacrifice.  In  the  fifth  row  Jabin, 
King  of  Hazor,  leads  a host  of  Knights,  and  there 
is  a single  combat,  and  Joshua  addresses  the  people. 
In  the  lowest  row  are  the  Gibeonites  before  Joshua, 
and  the  capture  of  Hazor.  In  the  eighteenth  half 
medallion  appears  the  red  orb  of  the  sun  and  a 
crescent  moon,  apparently  referring  to  Joshuas 
command  : “ Sun,  stand  thou  still  upon  Gibeon  ; and 


POITIERS  CATHEDRAL 


179 


thou,  Moon,  in  the  valley  of  Ajalon.”  This  window 
is  of  a fine  bright  colour  of  the  beginning  of  the 
thirteenth  century  resembling  the  colour  of  the 
twelfth. 

The  second  window  of  Joshua  in  the  north  side 
of  the  nave  at  Poitiers  is  hard  to  understand ; in 
the  lowest  central  medallion  is  the  name  SPbraam, 
and  the  medallion  has  evidently  strayed  from 
another  window,  probably  the  window  of  Lot.  In 
the  third  central  medallion  from  the  top  is  a sceptre 
tipped  with  fleur-de-lis . 

The  subject  of  the  first  window  on  the  west  wall 
of  the  north  transept  is  unknown.  The  second  in 
the  north  transept  contains  the  legend  of  St  Blaise, 
but  it  is  not  easy  to  decipher.  In  the  sixth 
medallion  is  St  Blaise  tied  to  a frame  and  combed 
with  an  iron  rake  by  an  executioner  in  a yellow 
robe.  In  the  end  wall  of  the  north  transept  are 
two  windows  with  the  history  of  Joseph.  The 
first  contains  the  story  of  Joseph  in  Egypt;  at 
the  top  are  seven  sheaves  bowing  to  the  eighth, 
and  the  sun,  moon,  and  stars.  In  the  second  row 
is  Joseph’s  dream;  in  the  third  row  Joseph  relates 
his  dream  to  his  brothers  and  his  father;  in  the 
fourth  row  Jacob  sends  Joseph  to  seek  his  brothers ; 
in  the  fifth  row  Joseph  is  stripped  and  put  into  the 
well.  In  the  sixth  row  two  Midianites  bargain 
with  one  brother  while  the  other  brothers  look  on. 
In  the  lowest  row  the  Midianite  pays,  and  Joseph 
bids  farewell  to  his  brothers,  and  goes  off  with  the 
Midianites. 

The  second  window  in  the  north  transept  wall 


180 


STORIED  WINDOWS 


represents  Joseph’s  life  in  Egypt ; at  the  top  Joseph 
is  sold  by  merchants  to  Potiphar ; in  the  next  three 
compartments  are  Joseph  and  Potiphar’s  wife,  who 
complains  to  Potiphar,  and  Joseph  is  sent  to  prison. 
In  the  next  four  compartments  the  chief  butler’s 
dream  is  told  to  Joseph  ; the  chief  baker  is  hanged  ; 
and  Pharaoh  sees  two  sheaves,  each  of  seven  ears, 
and  seven  lean  kine  and  seven  fat  kine  coming 
from  the  Nile.  In  the  next  three  compartments 
Pharaoh  consults  three  greybeards,  and  then  meets 
Joseph,  who  examines  the  harvest.  In  the  next 
four  J oseph  visits  Egypt  and  sells  corn.  In  the  next 
three  Joseph’s  brethren  come  on  camels,  and  meet 
Joseph  and  his  wife  Asenath,  and  then  depart  on 
camels  with  presents.  In  the  lowest  compartments 
Joseph  receives  Benjamin  and  two  brothers,  and 
reveals  himself,  and  despatches  two  camels  with 
presents  to  Jacob. 

One  of  the  two  windows  on  the  north  side  of 
the  choir  contains  the  story  of  Lot.  At  the  top 
are  three  angels  talking  to  Lot  and  his  wife.  In 
the  second  row  the  Angel  and  Lot  are  attacked  by 
the  people  of  Sodom  on  the  left,  and  on  the  right 
is  Lot’s  wife  as  a pillar  and  the  fall  of  Sodom. 
The  next  two  are  not  obvious.  In  the  fourth  row 
on  the  left  Lot  receives  wine  from  his  daughters, 
and  on  the  right  he  embraces  one  daughter  while 
the  other  looks  on.  In  the  two  lowest  medallions 
Abraham  receives  Sarah  by  order  of  Abimelech,  and 
the  crowned  Abimelech  gives  a command  to  his 
servant. 

The  subject  of  the  other  window  on  the  north 


POITIERS  CATHEDRAL 


181 


side  of  the  choir  is  Abraham.  At  the  top  on  the 
left  Sarah  is  in  bed  and  little  Isaac  is  being  washed ; 
on  the  right  Abraham  expels  Hagar  and  Ishmael. 
In  the  second  row  on  the  left  is  Abraham  with 
knife  and  torch  and  Isaac  on  an  ass  ; on  the  right 
is  Abraham  and  an  Angel  and  Isaac  ready  for 
sacrifice.  Below  this  the  border  is  cut  by  a great 
circle  divided  into  four  quadrants.  In  the  first 
quadrant  the  aged  Abraham  in  bed  makes  his 
servant  swear  to  find  a wife  for  Isaac,  and  in  the 
second  quadrant  the  servant  departs  on  an  ass ; 
in  the  third  quadrant  Rebekah  gives  water  to  the 
servant’s  ass,  and  in  the  fourth  the  servant  is 
outside  Labans  town.  In  the  lowest  medallion 
on  the  left  Rebekah  leads  the  servant  into  her 
fathers  house ; on  the  right  the  servant  offers 
presents  to  Laban  and  Bethuel  at  table,  and 
Rebekah  looks  on. 

The  three  transitional  windows  in  the  straight 
wall  at  the  east  of  Poitiers  Cathedral  are  of  the 
end  of  the  twelfth  century,  and  they  have  the 
lovely  blue  colour  which  is  characteristic  of  that 
century. 

The  one  on  the  north  to  the  left  of  the  central 
East  window  has  undergone  a great  deal  of  altera- 
tion as  well  as  repair  since  it  was  described  by 
Auber  in  1848  as  a window  of  St  Fabien.  It 
contains  seven  medallions  with  half  medallions  on 
each  side.  The  centre  medallions  are  bordered  by 
a mosaic  of  small  pieces  of  coloured  glass,  but  the 
half  medallions  have  a simple  band  of  red  between 
white  pearls.  In  the  centre  at  the  top  is  a fine 


182 


STORIED  WINDOWS 


picture  of  a Byzantine-looking  Emperor  Decius 
with  a drawn  sword  seated  in  judgment ; at  the 
two  sides  are  soldiers  rushing  towards  him.  In 
the  second  centre  a Saint  with  hands  bound  is 
before  the  Emperor.  In  the  third  row,  on  the  left, 
is  the  inscription  3£ctfas  Caesar  Emprra*  In  the 
fourth  and  fifth  centres  are  new  medallions  inscribed 
HabrenttbsL  In  the  sixth  medallion  is  the  death 
of  a Saint.  The  lowest  medallion  is  new.  The 
background  of  the  medallions  is  blue,  but  the 
spaces  between  the  medallions  are  filled  with 
green  enclosing  small  quatrefoils.  This  window 
is  said  to  have  been  given  by  Maurice  de  Blason, 
who  became  Bishop  of  Poitiers  in  1198.  The 
border  is  narrower  than  the  usual  border  of  the 
twelfth  century. 

The  great  central  East  window  of  Poitiers  is  26 
feet  high  and  10  feet  wide.  It  disputes  with 
Notre  Dame  de  la  belle  Verri&re  at  Chartres  the 
glory  of  being  the  finest  window  extant.  The  great 
proportion  of  white  seems  to  bring  out  into  pro- 
minence the  lovely  sky-blue  of  the  ground  and  the 
strong  ruby  colour  in  the  pictures.  The  blue  is  of 
an  unrivalled  soft  tint,  translucent  yet  with  much 
depth  of  colour  like  polished  agate.  The  other 
colours,  besides  the  prevailing  blue  and  ruby  and 
white,  are  olive  green  of  two  shades,  pot-metal 
yellow  and  a brownish  purple,  and  a lighter  shade 
of  manganese.  Lovers  of  colour  would  give  the 
palm  to  the  Poitiers  window.  Unfortunately  the 
near  view  of  this  lovely  window  from  the  nave  is 
obstructed  by  a canopy  suspended  too  high  in  the 


POITIERS  CATHEDRAL. 

East  Window,  of  marvellous  Colour. 
End  of  XIIth  Century. 


Bv  Dermission  of  M.  Jules  Robuchcn. 


POITIERS  CATHEDRAL 


183 


choir.  This  ought  to  be  lowered  to  leave  the 
window  clear. 

At  the  top  of  the  window  is  the  Ascended  Lord 
in  a long  sharply-pointed  vesica  like  the  one  at 
Vendome;  the  ground  is  blue,  but  the  inside  is 
edged  with  very  bright  ruby  (this  scene  is  illus- 
trated in  Days  ‘Windows/  1st  ed.,  p.  37) ; on  each 
side  is  an  angel  in  a very  constrained  attitude. 
Below  this  are  ten  Apostles  gazing  upwards  in  two 
panels,  one  on  each  side  of  the  top  of  the  cross. 
The  Apostles  bear  a remarkable  resemblance  to  the 
Apostles  in  the  Ascension  window  at  Le  Mans.  In 
the  centre  is  the  Crucifixion  on  a flat  ruby  cross 
with  a Byzantine-looking  Christ,  and  inscribed 
above  is  Kesfas  Najarett&S*  In  the  panel  on  the 
left  is  the  Virgin  and  the  soldier  with  the  spear. 
In  the  right-hand  panel  is  St  John  and  the  soldier 
with  the  sponge  on  hyssop.  Below  this  is  a quatre- 
foil  with  a square  centre,  and  two  small  panels,  one 
on  each  side  of  the  top  lobe.  In  these  two  panels 
and  the  top  lobe  between  them  is  a single  picture 
of  an  Angel  on  the  left  with  a small  cross  in  his 
hand  pointing  out  the  Holy  Sepulchre  in  the  centre 
(under  an  architectural  canopy  from  which  a lamp 
is  suspended)  to  three  weary  Women  on  the  right, 
who  have  travelled,  staff  in  hand,  with  spices  to 
embalm  the  body  of  Jesus.  In  the  square  centre 
St  Peter  is  being  crucified  head  downwards ; two 
men  on  ladders  are  nailing  his  feet  and  two  below 
are  nailing  his  hands.  The  two  side  lobes  form  one 
picture.  On  the  left,  Nero  crowned  and  inscribed 
Nero  Emperat,  with  a blue  demon  at  his  ear,  is 


184 


STORIED  WINDOWS 


pointing  energetically  to  an  executioner  on  the 
right,  who  is  whirling  a sword  to  behead  £>*  ^attlhs 
who  is  kneeling  blindfolded  with  hands  outstretched. 
In  the  lowest  lobe  kneel  the  founders  of  the  Cathe- 
dral, Henry  II.  of  England  and  his  wife  Eleanor  of 
Aquitaine,  and  between  them  is  a figure  in  white 
with  cross  on  breast  having  upraised  hands.  There 
is  a long  inscription  at  the  sides  of  the  lowest  lobe, 
of  which  the  word  Bias  is  considered  to  mean  the 
donor,  Maurice  de  Blason,  who  became  Bishop  of 
Poitiers  in  1198.  The  broad  and  beautiful  border 
is  cut  at  the  top  by  the  vesica-shaped  aureole,  and 
at  the  bottom  by  the  lowest  lobe. 

The  resemblance  of  the  Apostles  to  those  at  Le 
Mans  is  one  of  the  many  arguments  which  support 
the  view  so  ably  maintained  by  Emil  Male,  in  vol. 
ii.  of  ‘ L’Histoire  de  l’Art,’  that  all  the  glass  of  the 
twelfth  century  in  the  west  of  France  is  from  a 
common  source ; so  that  the  twelfth-century 
windows  of  Vendome,  Angers,  Poitiers,  Le  Mans, 
and  Chartres,  as  well  as  the  Jesse  tree  at  York, 
were  all  made  by  artists  of  the  School  of  St  Denis. 
The  same  theory  was  enunciated  long  before,  in 
1881,  by  Westlake  in  vol.  i.  p.  33  of  his  ‘History 
of  Design  in  Painted  Glass.’ 

The  third  window  on  the  east  wall,  to  the  right 
of  the  central  East  window,  is  said  to  contain  the 
history  of  St  Peter,  and  the  word  occurs  in 

many  places,  but  it  does  not  always  seem  to  be  in 
its  original  place.  The  medallions  contain  pictures 
which  are  clear  and  vigorous  but  not  easy  to  under- 
stand. The  colour  is  beautifully  bright,  like  the 


POITIERS  CATHEDRAL 


185 


colour  of  the  twelfth-century  windows  at  Angers. 
The  central  medallion  contains  a woman  on  a bed, 
and  it  is  inscribed  ®abtta.  The  medal- 

lion above  this  is  inscribed  ^ablbs.  3ol)anntS* 
There  is  a broad  plaid  border  of  alternate  discs 
and  diamonds.  Each  medallion  is  bordered  with  a 
green  band  between  two  lines  of  white  pearls.  The 
whole  ground  is  a lovely  blue  with  quatrefoils  but 
no  plaid  diaper. 

The  first  window  on  the  south  side  of  the  choir 
contains  the  Childhood  of  Jesus.  At  the  top 
(Erodes  orders  the  massacre  of  the  Innocents. 
Below  this  are  armed  men  seizing  the  Innocents. 
Below  this  in  two  half  pictures  an  angel  warns 
Joseph,  and  Mary  gives  to  him  the  Child  Jesus. 
Below  this  Mary  presents  the  Child  to  the  High 
Priest.  The  next  medallion  is  confused.  Below  it 
is  Jesus  with  the  Doctors  in  the  Temple. 

In  the  second  window  on  the  south  side  of  the 
choir  is  the  Passion  of  Jesus  Christ  in  very  dark 
pictures.  At  the  top  Jesus  is  seized  in  the  Garden. 
The  second  picture  is  the  Entry  into  Jerusalem. 
In  the  third,  the  priests  debate  in  the  house  of 
Caiaphas,  who  has  a green  demon.  In  the  fourth, 
Jesus  washes  the  Apostles'  feet.  The  fifth  is 
confused ; and  in  the  last  is  the  Scourging  of 
Jesus. 

In  the  end  wall  of  the  south  transept  are  a pair 
of  early  thirteenth-century  windows,  of  which  the 
lower  part  is  obscured  by  the  intrusive  and  glaringly 
incongruous  frame  of  a picture,  apparently  of  the 
seventeenth  century.  The  Beaux-Arts  would  do 


186 


STORIED  WINDOWS 


well  to  remove  this  obstruction  and  put  the  picture 
in  some  more  suitable  place.  The  first  of  these 
two  windows  contains  the  story  of  Job,  but  the 
medallions  are  difficult  to  decipher ; in  the  tenth 
medallion  is  inscribed  Sol)  and  at  the  end  is  aj, 
which  are  the  last  two  letters  of  the  word  Eliphae. 

The  window  to  the  right  on  the  end  wall  of  the 
south  transept  of  Poitiers  Cathedral  contains  the 
story  of  the  Prodigal  Son.  In  the  first  row  at 
the  top  the  Prodigal  receives  money  from  his 
father,  while  the  elder  brother  looks  on ; at  each 
side  are  asses  laden  with  treasures.  In  the  second 
row  on  the  left  the  Prodigal  departs,  and  in  the 
centre  he  appears  in  scant  attire  before  a woman ; 
to  the  right  is  a confused  scene  of  debauchery. 
In  the  third  row  the  Prodigal  hires  himself  to  a 
man,  and  guards  pigs,  and  is  seated  reflecting. 
In  the  fourth  row  on  the  left  is  the  lonely  Prodigal, 
but  in  a misplaced  central  scene  he  is  with  a richly- 
clad  harlot,  and  on  the  right  he  is  at  his  fathers 
door.  In  the  fifth  row  the  Prodigal,  in  a yellow 
robe,  is  introduced  to  a feast  where  he  sits  with 
his  father  and  guests ; on  the  right  is  a servant 
carrying  food.  In  the  centre  of  the  sixth  row  the 
father  tries  to  reconcile  his  two  sons.  The  three 
lowest  medallions  seem  misplaced  and  are  not  easy 
to  understand. 

In  the  west  wall  of  the  south  transept  are  a pair 
of  windows  with  unknown  legends. 

In  the  south  wall  of  the  nave  the  first  window 
has  a good  deal  of  the  deep  sapphire  blue  of  the 
thirteenth  century,  which  contrasts  with  the  oppo- 


POITIERS  CATHEDRAL 


187 


site  window  on  the  north  wall,  of  the  very  begin- 
ning of  the  thirteenth  century,  in  which  the  lighter 
and  more  transparent  blue  of  the  twelfth  century 
still  appears.  The  window  contains  the  story  of 
Moses.  At  the  top  Miriam  shows  her  leprous  hand 
to  Moses,  while  Aaron  gesticulates  with  surprise 
and  fear.  In  the  second  medallion  God  appears 
to  Moses.  In  the  third  is  the  Ark  of  the  Covenant. 
In  the  fourth  are  Moses  and  Caleb.  In  the  fifth 
(which  ought  to  be  placed  after  the  sixth)  are  the 
Israelites  and  the  Serpents.  In  the  sixth  Moses 
in  distress  sees  the  Hand  of  God.  In  the  seventh 
Moses  orders  Korah  to  take  a censer.  In  the 
eighth  Moses  separates  Aaron  and  Korah  and  gives 
a censer  to  each. 

The  second  window  contains  the  story  of  Balaam, 
but  the  medallions  are  not  in  their  proper  order. 
The  third  and  the  last  three  belong  to  the  history 
of  Moses.  At  the  top  are  Balak  and  Balaam  and 
the  princes  and  a demon.  In  the  second  medallion 
are  Balaam  and  a servant  before  an  empty  throne, 
with  the  word  Balaam  inscribed  backwards.  In 
the  third  is  Moses’  Brazen  Serpent.  In  the  fourth 
(which  should  come  first)  Balaam  receives  the 
messengers  of  Balak.  In  the  next  two  are  more 
messengers.  In  the  seventh  Balaam  rides  on  an 
Ass  with  a Knight  and  two  servants  (inscribed 
Balaam).  In  the  eighth  God  places  a mitre  on 
the  head  of  Aaron,  who  holds  the  rod  that  budded. 
In  the  ninth  Moses  bids  farewell  to  Jethro.  In 
the  tenth  God  commands  the  kneeling  Moses  to 
take  Aaron  as  his  helper. 


188 


STORIED  WINDOWS 


The  cathedral  of  Poitiers  contains  specimen  stone 
windows  from  which  it  is  remarkably  easy  to  trace 
four  stages  in  the  development  of  window  tracery  : 
first,  the  Romanesque  round  arch  ; secondly,  the 
single  pointed  lancet ; thirdly,  the  simple  arch 
enclosing  two  lights,  with  a tympanum  above 
pierced  with  a single  plain  circle ; and  fourthly, 
the  arch  enclosing  three  or  more  lights,  with  the 
tympanum  pierced  with  foiled  and  cusped  circles 
of  the  later  geometrical  style. 

Poitiers  abounds  in  Romanesque  buildings. 
Among  these  are  St  Hilaire  with  five  aisles  and 
a raised  chancel,  and  Notre  Dame  la  Grande,  which 
is  all  polychrome  inside ; also  St  Porchaire  and 
Montierneuf.  But  the  only  church  of  interest  to 
the  glass- hunter  is  St  Radegonde,  where  there  is 
some  genuine  old  glass  of  good  colour  belonging 
to  the  beginning  of  the  fourteenth  century  in  four 
windows,  two  on  each  side  on  entering  from  the 
west.  The  first  window  to  the  left  contains  the 
legend  of  St  Blaise,  but  it  is  not  easy  to  decipher. 
Next  to  this  is  a brilliant  Rose  with  the  Last 
Judgment.  Below  this  was  a Life  of  Christ,  but 
this  has  disappeared  and  been  replaced  by  medal- 
lions mostly  of  new  glass.  Below  the  rose  are 
the  arms  of  Poitou,  golden  towers  on  red,  and  the 
old  arms  of  France,  azure  with  fleurs-de-lis  sans 
nornbre.  Opposite  to  this  on  the  south  side  is  a 
small  rose  with  the  later  shield  of  France,  with 
only  three  fleurs-de-lis  to  signify  the  Trinity. 
Beneath  this  rose  is  a jumble  of  bits  of  old  glass, 
below  which  are  ancient  medallions  inserted  in 


POITIERS— ST  RADEGONDE  189 


staring  white  glass,  dated  1768.  The  base  is  filled 
up  with  four  panels  of  ancient  glass  very  hard  to 
decipher.  To  the  right  of  this  on  the  south  side 
is  a window  with  vesica-shaped  medallions  con- 
taining the  legend  of  St  Radegonde.  These 
medallions  also  are  difficult  to  decipher. 


190 


CHAPTER  XXYI. 

BOURGES. 

About  ninety  miles  from  Poitiers  is  Bourges, 
where  the  cathedral  of  St  Etienne  is  second  only 
to  the  cathedral  of  Chartres,  for  it  contains  ninety 
ancient  windows.  Structurally  it  may  even  claim 
superiority  as  being  unencumbered  by  non-structural 
ornament,  and  therefore  in  spite  of  its  enormous 
space  it  is  much  easier  to  see  it  as  a whole.  It 
has  no  transepts ; but  practically  the  transepts  have 
been  extended  all  round  the  building,  for  it  has 
five  aisles,  and  consequently  there  are  a double 
line  of  arches,  the  inner  row  being  higher  than  the 
outer  one.  Hence  there  are  three  ranges  of  windows 
all  round  the  Cathedral,  the  lowest  range  in  the 
outer  aisles  of  the  nave  and  in  the  ambulatory  of 
the  choir,  the  second  range  in  an  intermediate 
lower  clerestory  above  the  arches  of  the  outer 
aisles,  and  the  third  range  in  the  upper  clerestory 
above  the  arches  of  the  nave  and  choir. 

In  the  lowest  range  in  the  choir  are  twenty-two 
medallion  windows  of  the  thirteenth  century. 

In  the  first  window  on  the  north  is  the  story 


BOURGES  CATHEDRAL. 

Chapelle  de  Beaucaire.— SS.  Gregory,  Augustine,  Jerome,  Ambrose. 
Second  half  of  XYth  Century. 


BOURGES  CATHEDRAL 


191 


of  Dives  and  Lazarus.  The  base  shows  the  Masons 
at  work  as  donors  of  the  window.  In  the  first 
row  is  the  rich  man  and  his  servants : the  rich 
man’s  house  being  built : God  telling  the  rich  man, 
“H?ac  Nocte  3mma  ®ba  Eolltthr  a QLz”  (“in 
this  night  shall  thy  soul  be  taken  from  thee  ”). 
In  the  second  row  is : the  rich  man’s  wife  : the 
servant  giving  water  to  the  rich  man  to  wash : 
the  servant  cooking.  In  the  third  row  are : 
servants  carrying  food : the  rich  man  feasting 
with  his  wife : the  dogs  licking  the  sores  of 
Lazarus  at  the  door.  In  the  fourth  row : the 
rich  man  dying  with  his  wife  at  his  bedside  : the 
devil’s  claw  seizing  the  soul  of  the  dead  rich  man : 
an  Angel  receiving  the  soul  of  the  dying  Lazarus. 
In  the  fifth  row  the  rich  man  in  hell  with  the 
devil : the  rich  man  tormented  by  demons : Angels 
carrying  off  the  soul  of  Lazarus.  In  the  top  row 
are  two  Angels  and  Abraham  between  them  re- 
ceiving the  soul  of  Lazarus : above  Abraham  is 
the  Hand  of  God. 

Next  to  this  broad  window  is  a chapel  with  three 
narrow  lancets ; in  the  first  is  the  legend  of  Ste 
Marie  l’Egyptienne ; the  lower  part  is  modern. 
In  the  next  is  the  legend  of  St  Nicolas  in  five 
circular  medallions,  of  which  the  two  lowest  are 
modern.  In  the  lower  half  of  the  central  circle 
three  young  men  are  murdered  by  an  innkeeper, 
and  resuscitated  from  the  salting-tub  by  St  Nicolas  ; 
in  the  upper  half  is  a despairing  father  and  three 
sleeping  daughters,  whose  dowry  St  Nicolas  casts 
in  through  a window.  In  the  circle  above  this, 


192 


STORIED  WINDOWS 


in  the  lower  half,  Constantine  condemns  two  officers 
on  a false  accusation ; in  the  upper  half  St  Nicolas 
appears  in  a dream  to  Constantine  and  to  his  chief 
Minister  just  before  their  execution.  In  the  lower 
half  of  the  top  circle  Constantine  releases  the 
officers  with  rich  presents  for  St  Nicolas.  In  the 
uppermost  half  is  the  boy  fallen  out  of  the  ship 
with  the  golden  cup  in  the  presence  of  his  Father 
and  Mother,  and  St  Nicolas  rescues  the  boy,  and 
the  parents  make  an  offering  of  the  gold  cup. 

In  the  third  window  in  this  chapel  is  the  story 
of  Mary  of  Bethany,  who  is  here  supposed  (as  in 
the  4 Golden  Legend  ’)  to  be  identical  with  Mary 
Magdalene.  The  three  lowest  rows  are  new.  In 
the  fourth  row  Jesus  is  at  the  feast  in  Simon’s 
house  in  the  centre,  and  on  each  side  is  Mary 
Magdalene  prostrated  at  his  feet,  wiping  them 
with  her  hair  on  the  left,  and  holding  the  alabaster 
box  on  the  right.  In  the  next  two  rows  are  Martha 
and  Mary  and  Jesus.  In  the  seventh  row  is  the 
illness  and  death  of  Lazarus,  and  a messenger 
bearing  the  tidings  to  Christ.  In  the  eighth  row 
is  the  entombment  of  Lazarus.  In  the  ninth  row 
Christ  comes  to  the  house  of  mourning,  and  at 
the  top  is  the  raising  of  Lazarus. 

In  the  second  large  window  the  remains  of  St 
Stephen  are  discovered  by  Lucian  and  taken  to 
Rome. 

The  third  large  window  contains  the  story  of 
the  Good  Samaritan.  Unlike  the  others,  it  begins 
at  the  top,  where  the  traveller  starts  from  Jerusa- 
lem. In  the  second  central  medallion  he  is  attacked 


BOURGES  CATHEDRAL 


193 


by  robbers,  who  strip  him  in  the  third  and  leave 
him  half  dead  in  the  fourth,  where  he  is  seen  by 
a priest  and  a Levite.  In  the  lowest  central  medal- 
lion the  good  Samaritan  in  the  upper  half  conducts 
the  traveller  on  his  own  beast  to  an  Inn  in  the 
lower  half.  At  the  sides  are  half  medallions  with 
the  story  of  the  Fall  of  Man.  In  the  first  and 
second  are  four  scenes  of  the  Creation.  In  the 
third  (left)  Adam  and  the  innocent  white  Eve  are 
in  the  Garden  of  Eden,  being  warned  by  God.  In 
the  fourth  (right)  a dingy -coloured  Eve  is  tempted 
by  the  Serpent  and  rebuked  by  God,  who  gives 
to  Adam  and  Eve  authority  over  the  beasts.  In 
the  fifth  and  sixth  upper  halves  Adam  and  Eve 
are  expelled,  and  the  Angel  guards  the  door  of 
Paradise.  In  the  lower  halves  of  the  fifth  and 
sixth  are  a horned  Moses  and  the  burning  bush, 
and  Moses  breaking  the  tables  of  the  law.  In 
the  quarter  medallions  the  people  bring  jewels  to 
Aaron  and  the  golden  calf  is  set  up.  At  the  base 
Jesus  is  scourged  and  crucified. 

In  the  second  chapel  are  three  narrow  lancets 
with  St  Denis,  S.S.  Peter  and  Paul,  and  St  Martin. 

In  the  fourth  large  window  is  the  story  of  the 
Prodigal  Son,  given  by  the  Tanners,  who  are  work- 
ing and  selling  at  the  base.  The  lower  large 
medallion  has  a centre  surrounded  by  four 
quadrants.  In  the  first  quadrant  at  the  foot  the 
father  remonstrates  with  his  sons ; on  the  left  the 
father  gives  the  younger  son  his  portion ; in  the 
centre  the  elder  son  is  ploughing  with  two  oxen  ; 

N 


194 


STORIED  WINDOWS 


on  the  right  the  Prodigal  feasts  with  a harlot,  who 
turns  him  out  of  doors  when  he  is  ruined.  At  the 
foot  of  the  second  large  medallion  the  Prodigal  is 
gambling  in  a tavern.  On  the  left  a rich  woman 
drives  the  begging  Prodigal  from  the  door ; in  the 
centre  the  Prodigal  hires  himself,  and  on  the  right 
he  guards  sheep  and  goats  (instead  of  pigs) ; at 
the  top  of  the  medallion  the  father  welcomes  the 
Prodigal  and  the  servants  bring  him  a robe.  In 
the  three  scenes  above  this  the  fatted  calf  is  killed, 
the  Prodigal  feasts  with  his  father,  and  the  elder 
son  returns.  At  the  summit  the  father  reconciles 
the  two  sons.  In  the  field  are  eight  small  medallions 
with  crowned  kings. 

The  fifth  large  window  contains  La  Nouvelle 
Alliance,  the  new  alliance  of  the  Gentiles  with 
the  Church,  so  elaborately  discussed  in  the  stately 
folio  of  the  Jesuit  Fathers  Cahier  and  Martin.  At 
the  base  the  Butchers  who  gave  the  window  are 
killing  and  selling.  In  the  centre  of  the  lower 
great  circle  is  Christ  carrying  the  Cross ; in  the 
two  lower  quarters  is  the  sacrifice  of  Isaac,  who 
carries  wood  shaped  into  the  form  of  a cross,  like 
the  wood  upon  which  he  is  bound  in  the  half 
medallion  above  the  Crucifixion  in  the  east  window 
at  Canterbury.  In  the  upper  left  quarter  is  Elijah 
and  the  widow  of  Zarephath,  who  also  carries  wood 
shaped  into  the  form  of  a cross ; on  the  right  is  the 
Paschal  Lamb  and  the  blood  placed  on  the  lintel. 
In  a circle  in  the  centre  of  the  window  is  the 
Crucifixion,  between  the  crowned  Church  Trium- 
phant on  the  left  with  a chalice,  and  the  droop- 


BOURGES  CATHEDRAL 


195 


ing  Synagogue  on  the  right  blindfolded,  with 
falling  crown  and  broken  sceptre.  On  the  left  of 
the  circle  is  Moses  striking  the  rock,  and  on  the 
right  is  Moses  holding  the  tables  and  pointing  to 
a square  lump  of  yellow  with  dogs  head  above  and 
tail  below,  which  is  described  as  the  brazen  Serpent ; 
but  it  looks  more  like  as  if  he  were  remonstrating 
about  the  golden  calf.  In  the  centre  of  the  upper 
large  circle  is  Christ  rising  from  the  tomb  between 
one  Angel  with  a censer  and  another  with  a torch. 
In  the  lower  quarter  on  the  left  is  King  David  and 
a Pelican,  and  on  the  right  are  the  Lions  of  Judah ; 
in  the  upper  left  is  Elisha  raising  the  Shunammite 
womans  son,  and  on  the  right  Jonah  issuing  from 
the  whale's  mouth.  In  the  circle  at  the  top  is 
Jacob  with  crossed  hands  blessing  Manasseh  and 
Ephraim,  This  is  inscribed  with  the  mysterious 
words  Soseplj  jftlteh  <£aac,  which  apparently  is  a 
mutilated  inscription  which  once  ended  with  the 
word  Isaac.  Clement  gives  the  last  three  letters 
wrongly  as  acc.  This  Nouvelle  Alliance  window 
should  be  compared  with  the  east  window  of  the 
Lady  Chapel  of  Le  Mans,  described  on  page  110. 

The  Lady  Chapel  has  three  windows  of  Renais- 
sance glass  of  the  end  of  the  sixteenth  century, 
which  is  said  to  have  come  from  the  Sainte 
Chapelle  of  Bourges,  which  was  destroyed  in  the 
eighteenth  century.  In  the  window  on  the  left 
is  the  Presentation  of  the  Virgin  at  the  top,  the 
adoration  of  the  Magi  in  the  centre,  and  in  the 
lower  part  are  Joachim  and  Anne  reading  the 
Scriptures.  In  the  central  window  is  the  Assump- 


196 


STORIED  WINDOWS 


tion  of  the  Virgin,  with  a good  deal  of  new  glass ; 
below  this  are  two  old  panels,  and  the  lower  half 
of  the  window  is  filled  with  dreadful  modern  blue 
glass,  so  that  unfortunately  the  eye  of  the  beholder 
walking  up  the  centre  of  the  Cathedral  rests  on 
some  of  the  worst  glass  in  the  building.  In  the 
right-hand  window  of  the  Lady  Chapel  is  the 
Annunciation  above,  and  the  Magi  in  the  centre, 
and  the  Flight  into  Egypt  below,  with  lovely 
heads  of  the  Virgin  and  Child  and  Joseph.  At 
the  bases  of  these  windows  are  the  tops  of  early 
fifteenth-century  canopies. 

South  of  the  Lady  Chapel  is  the  sixth  large 
window,  containing  a Last  Judgment  of  splendid 
colour ; but  the  medallions  are  very  dark.  At  the 
top  is  the  Holy  Dove  descending  on  crowned  men. 
In  the  upper  half  is  Christ  the  Judge  surrounded 
by  adoring  worshippers.  In  the  second  large 
quatrefoil,  in  the  upper  part  is  Michael  weighing 
souls  before  a demon ; in  the  centre  the  good  are 
taken  to  Abraham  on  the  left,  and  the  wicked  are 
taken  by  demons  to  Hell  on  the  right,  and  below 
are  two  Angels  with  trumpets.  In  the  two  half 
medallions  at  the  sides  are  two  more  angels  with 
trumpets  and  the  dead  rising  from  their  graves. 
At  the  base  on  the  left  is  the  death  of  a good 
man,  and  on  the  right  is  the  evil  end  of  a hard- 
ened sinner. 

The  seventh  large  window  of  the  Passion  is  the 
gift  of  the  Furriers,  who  sell  furs  in  the  two  medal- 
lions at  the  base.  In  the  next  two  is  the  Entry 
into  Jerusalem,  with  Spectators  in  a tree  and  on 


BOURGES  CATHEDRAL 


197 


a tower.  In  the  next  two  is  the  Last  Supper  and 
Jesus  washing  the  Apostles’  feet.  In  the  next  two 
are  the  Kiss  of  Judas,  and  a very  unusual  scene  of 
the  Crucifixion,  where  Jesus  stands  bound  amid  the 
crowd  below  the  Cross,  to  which  a ladder  is  raised, 
while  two  men  stand  on  the  arms  of  the  Cross 
nailing  the  inscription.  The  ninth  and  tenth  are 
reversed,  and  so  are  the  eleventh  and  twelfth.  In 
the  ninth  is  an  elaborate  picture  of  the  Descent 
from  the  Cross  with  two  ladders.  In  the  tenth 
is  the  Crucifixion.  In  the  eleventh  is  the  Resur- 
rection from  a finely  wrought  tomb.  In  the  twelfth 
is  Christ  visiting  the  Spirits  in  prison.  Up  the 
centre  of  the  window  are  little  medallions,  and 
at  the  sides  are  small  half  medallions. 

The  first  chapel  on  the  south  has  three  windows 
of  St  Habrenttbs,  with  new  glass  at  the  base,  and 
St  Stephen  with  two -thirds  new,  and  St  Vincent 
with  new  glass  at  the  base. 

The  eighth  large  window,  of  which  the  subject  is 
the  Apocalypse,  has  fine  archaic  faces.  The  window 
contains  three  groups  of  pictures.  At  the  base  are 
pictures  of  preaching  and  baptism ; in  the  central 
lower  picture  is  Christ  between  seven  candles,  with 
a sword  in  His  mouth,  holding  the  book  with  seven 
seals  and  a globe  of  seven  stars.  Above  are  the 
seven  winged  heads  of  the  seven  churches.  In 
the  central  group  is  Christ  in  the  middle,  with 
red  flames  streaming  from  His  hands  to  the  four- 
and-twenty  Elders  below.  Above  Him  are  Evan- 
gelists and  Apostles.  In  the  upper  group  in  the 
middle  is  Christ  in  an  aureole  of  vesica  shape 


198 


STORIED  WINDOWS 


between  two  Angels ; below  are  adoring  Saints, 
and  above  on  the  left  is  the  Lamb  bearing  a flag ; 
and  on  the  right  the  Mother  Church  holding  a 
crown  in  each  hand  between  two  of  the  faithful. 
At  the  summit  of  this  splendid  window  are  seven 
clouds  and  seven  stars. 

The  ninth  large  window  contains  the  legend  of  St 
Thomas.  It  was  given  by  the  Masons,  one  of  whom 
is  working  on  a stone  at  the  base.  The  colour  is 
beautiful,  and  the  pictures  are  clear,  with  fine  faces. 

The  next  chapel  has  three  windows  of  St  James 
(left  half  entirely  new),  St  John  the  Baptist,  and 
St  John  the  Evangelist.  In  the  sixteenth  medal- 
lion of  the  window  of  St  John  the  Baptist  is  a 
curious  picture  with  Salome  twice  repeated,  as 
dancing  in  a red  robe,  and  walking  like  a tumbler 
on  her  hands,  like  the  figure  ascribed  to  David  in 
the  medallion  in  the  transept  of  Lincoln  Cathedral. 
The  window  of  St  John  the  Evangelist,  given  by 
the  Bakers,  is  said  to  be  the  only  one  which  is 
entirely  filled  with  its  original  glass  of  the  thir- 
teenth century.  But  the  medallions  are  small  and 
indistinct. 

The  tenth  large  window  is  inscribed  Soscpf)  in 
many  places.  At  the  base  are  Coopers  and  Car- 
penters who  gave  the  window.  There  are  three 
groups  of  pictures  with  diamond-shaped  centres. 
In  the  lowest  diamond  is  Joseph’s  dream  of  the 
sheaves  and  the  stars.  Above  this  Jacob  sends 
Joseph  to  seek  his  brethren.  In  the  lower  parts 
of  the  second  group  Joseph  is  in  the  well,  and 
his  brothers  take  his  garment  to  Jacob  (this  scene 


BO URGES  CATHEDRAL 


199 


is  illustrated  in  Westlake,  i.  p.  130).  In  the  central 
diamond  is  an  apparently  misplaced  picture  of  a 
review  of  the  food  resources  of  Egypt.  Above 
this,  on  the  left,  is  Joseph  with  Potiphar  and  his 
wife,  both  crowned;  on  the  right  Joseph  escapes 
from  Potiphar’ s wife,  who  complains  to  Potiphar. 
In  the  lower  part  of  group  at  the  top  is  Pharaoh’s 
dream  of  the  fat  and  lean  kine,  and  Joseph  is  pre- 
sented to  Pharaoh.  The  three  scenes  in  the  diamond 
and  the  two  upper  compartments  concern  Joseph 
and  his  brethren,  but  they  are  dark  and  indistinct. 

The  ten  broad  windows  in  the  ambulatory  of 
Bourges  are  all  of  splendid  colour,  and  they  rank 
among  the  finest  windows  of  the  thirteenth  cen- 
tury, like  the  four  windows  in  the  north  ambulatory 
at  Sens. 

In  the  lower  clerestory  of  the  Choir,  on  the  north 
are  large  figures  of  seven  Bishops  of  Bourges,  but 
only  three  have  names ; the  name  of  the  seventh 
is  St  SUrsht.  At  the  East,  much  restored,  are  St 
Laurence,  the  Virgin,  Jesus,  St  Stephanus,  and 
south  of  these  is  an  eighth  bishop  Guillaume,  with 
the  Countess  Matilda,  of  Mehun  or  of  Nevers,  below 
presenting  the  window,  inscribed  jHatlltitS  ComttJEh 
In  the  upper  clerestory  of  the  choir  are  forty 
windows  with  large  figures.  On  the  north  are 
twelve  Minor  Prophets,  with  their  names  clearly 
inscribed : glfaacus,  Zacljartas  JIKalacfjtas,  Sopljontas 
Smos  fLaum,  jJHtca  Sottas  Sftfctas,  Sggeus  So  cl 
©See;  next  are  the  four  Major  Prophets,  Daniel, 
Ezechiel,  Jeremias,  Ysaias,  followed  by  Moises  Davit 
Rex  and  St  Johannes  (the  Baptist) : these  two  are 


200 


STORIED  WINDOWS 


illustrated  in  Westlake,  i.  63.  At  the  east  end  are 
SartCta  fHarta  (illustrated  in  Westlake,  i.  62)  and 
St  Stephen.  On  the  south  side  are  the  Apostles 
Petrus  Paul,  Andreas  Johannes  Ev,  Jacobus  Phil- 
ippus  Thomas,  Bartholomeus  Matheus  Simon, 
Jacobus  Barnabas  Thadeus,  Marcus  Lucas  Mathias, 
Cleophas  Silas,  and  a saintly  Bishop  whose  name 
has  been  removed. 

The  two  clerestories  of  the  nave  are  filled  with 
grisaille,  and  many  of  the  roses  contain  pictures 
of  David  and  Saul  playing  on  musical  instruments. 

Round  the  nave  are  chapels  in  which  are  single 
windows  filled  with  glass  which  dates  from  the 
fifteenth  century  onwards.  These  have  been  de- 
scribed and  illustrated  in  a magnificent  folio  by 
the  Marquis  des  Meloizes. 

On  the  north  side  of  the  nave  are  seven  chapels. 

The  window  in  the  first  chapel  (de  Montigny)  is 
dated  1619,  and  has  the  latest  old  glass  in  the 
Cathedral.  At  the  base  are  two  fine  portraits  of 
the  donors,  the  Marshal  de  Montigny  and  his 
wife  Gabrielle  de  Crevant,  each  kneeling  before  a 
prie-Dieu.  In  the  centre  are  the  twelve  Apostles 
round  an  open  tomb  filled  with  flowers  (from  which 
the  Virgin  has  ascended).  In  the  tracery  is  the 
Assumption  of  the  Virgin.  This  is  an  excellent 
specimen  of  early  seventeenth-century  work. 

The  second  chapel  (Fradet)  has  a window  of 
about  1465,  with  the  large  white  canopies  and 
white  shafts  which  are  characteristic  of  the  fifteenth 
century.  In  it  are  figures  of  S*  fflarcbs,  £♦ 
Rflatfyebs,  <£L  nbca,  S.  Sofjanes*  In  the  tracery 


BOURGES  CATHEDRAL 


201 


at  the  top  is  the  Assumption  of  the  Virgin  with 
kneeling  Apostles.  Below,  on  the  left,  are  Christ 
and  Mary  Magdalene,  in  the  middle  is  the  Resur- 
rection, and  on  the  right  is  the  Crucifixion.  This 
is  a good  window  of  the  fifteenth  century,  with 
strong  colour  and  fine  dignified  figures. 

The  third  chapel  (Beaucaire)  has  a window  of 
about  the  same  date,  with  figures  of  St  Gregory, 
St  Augustine,  St  Jerome,  St  Ambrose,  each  with 
a damasked  curtain  as  a background.  In  the 

tracery  is  the  second  coming  of  Christ.  This  is 

also  a good  fifteenth-century  window  of  fine  colour. 

After  a long  space  of  wall  comes  the  fourth 
chapel  (of  Denis  de  Bar),  with  a sixteenth-century 
window  of  1518,  overcrowded  with  sixteen  square 
Renaissance  panels  of  the  history  of  St  Denis. 
The  tracery  is  brilliant. 

The  fifth  chapel  (de  Breuil)  has  a beautiful 
window  of  the  latter  half  of  the  fifteenth  century. 
In  it  St  John  the  Baptist  presents  the  donor 
Jean  de  Breuil  and  his  brother  Martin  on  the 
left ; in  the  centre  and  right  are  the  Magi  and 
Joseph  and  Mary  and  the  Child  Jesus.  In  the 
lowest  part  of  the  tracery  on  the  right  is  the 
legend  of  the  Sower,  who  was  sowing  a field 
when  the  Holy  Family  passed  him  in  their  flight 
into  Egypt.  On  the  next  day  there  was  a mirac- 
ulous ripe  crop,  so  that  when  he  was  questioned 
by  Herods  soldiers  he  said  that  he  had  seen  no 
one  pass  since  he  sowed  the  field  which  he  was 
now  reaping.  In  the  left  compartment  is  the 
murder  of  the  Innocents. 


202 


STORIED  WINDOWS 


In  the  sixth  chapel  on  the  north  (des  Trousseau), 
founded  in  1413,  is  a window  with  fine  canopies  of 
the  early  part  of  the  fifteenth  century  over  four  nice 
groups,  but  the  leads  cut  some  of  the  faces  rather 
badly,  and  the  window  seems  somewhat  faded, 
perhaps  owing  to  the  large  proportion  of  white 
glass.  In  the  right-hand  light  is  the  Virgin  and 
Child  between  St  Sebastian  and  a saintly  Bishop. 
In  the  second  light  on  the  right  St  James  presents 
Jacques  Trousseau  and  Philippe  de  la  Charity,  the 
father  and  mother  of  the  founder.  In  the  next  light 
St  Stephen  presents  Pierre  Trousseau,  the  founder  of 
the  chapel.  On  the  left  St  Agnes  presents  two 
brothers  and  one  sister  of  the  founder.  In  the 
three-pointed  trefoils  of  the  tracery  are  shields 
supported  by  Angels,  and  the  three  shields  at  the 
top  are  surmounted  by  papal  tiaras.  The  figures 
have  damasked  backgrounds. 

In  the  seventh  chapel,  the  last  before  the  windows 
of  the  thirteenth  century,  is  one  of  the  greatest  gems 
of  the  Cathedral  and  of  France.  The  chapel  was 
founded  by  Jacques  Coeur,  the  famous  merchant  of 
Bourges,  whose  palatial  house  is  such  an  ornament  to 
the  town,  and  it  contains  the  finest  known  window 
of  the  fifteenth  century.  The  date  of  the  window 
is  about  1450,  but  in  the  perfection  of  design  and 
drawing  it  anticipates  the  work  of  the  early  Renais- 
sance of  half  a century  later.  The  style  of  the 
picture  suggests  the  influence  of  Van  Eyck.  The 
tracery  at  the  top  forms  a fleur-de-lis  in  stone, 
with  a picture  of  God  the  Father  and  a dove  over 
a beautiful  jewelled  crown,  beneath  which  is  the 


' 


BOURGES  CATHEDRAL. 

Chapel  of  Jacqles  Cceur.  The  Annunciation.  1450. 


BOURGES  CATHEDRAL 


203 


shield  of  France,  upheld  by  a white  figure.  At 
the  top  of  each  pair  of  lights  is  a heart  (Coeur)  in 
stone,  containing  shields  of  the  Dauphin  and  his 
wife,  supported  by  two  figures.  The  four  lights 
contain  a single  picture  of  a chapel  with  seven 
windows  and  a blue  ceiling  studded  with  fleurs-de- 
lis  ; the  golden  groining  is  supported  by  two  large 
pierced  columns  at  the  outside  and  two  slender 
pillars  inside.  In  this  chapel  are  four  grand  figures 
of  lovely  colour,  beautifully  grouped.  In  the  two 
inner  lights  is  the  Annunciation,  with  a splendid 
Angel  Gabriel  in  a gorgeous  robe  of  scarlet  and 
gold  with  three  saints  in  the  edge,  kneeling  before 
a dignified  standing  Virgin  with  a jewelled  nimbus, 
who  holds  a book.  Gabriel’s  face  is  rather  feminine - 
looking,  and  may  possibly  be  a portrait  of  Jacques 
Coeur,  whose  face  in  the  statue  in  Bourges  has  also  a 
slightly  feminine  contour.  Outside  of  these  are  St 
James,  finely  draped,  on  the  left,  and  St  Catherine 
on  the  right,  leaning  on  a white  sword  with  a ruby 
grip  and  a face  in  the  pommel,  each  having  a 
jewelled  nimbus ; and  at  the  top  of  the  light,  above 
St  Catherine,  is  a remarkably  fine  shield  with  the 
arms  of  Aubespine,  who  succeeded  Jacques  Coeur  as 
owner  of  the  chapel.  It  is  difficult,  if  not  impos- 
sible, to  imagine  a more  thoroughly  satisfactory 
window,  for  it  blends  the  simplicity  of  design  of  the 
fifteenth  century  with  the  refined  drawing  and  the 
elaboration  of  minute  detail  of  the  sixteenth  century. 

On  the  south  side  of  the  nave  the  first  chapel 
from  the  east  contains  modern  glass,  but  the  glass 
in  the  tracery  is  old. 


204 


STORIED  WINDOWS 


The  second  chapel  on  the  south  (Aligret)  has  a 
window  of  about  1410  with  four  figures.  On  the 
left  is  St  Simon  presenting  a kneeling  group  of 
Simon  Aligret  and  two  nephews ; then  St  Catherine 
with  an  unbroken  wheel,  and  St  Hilaire  in  Bishop’s 
dress ; on  the  right  is  St  Michael  with  three  kneel- 
ing women.  In  the  tracery  is  Christ,  the  Judge, 
surrounded  by  angels  holding  instruments  of  the 
Passion,  with  the  Virgin  and  St  John  the  Baptist 
below.  Underneath  are  many  rising  dead,  some  of 
whom  carry  a band  inscribed  fRtserrte  ttOStri,  “ have 
mercy  upon  us.” 

The  third  chapel  on  the  south  (des  Tullier)  has  a 
window  of  1532  ascribed  to  the  famous  Renaissance 
artist  Lescuyer ; it  is  a fine  composition,  but  the 
enamel  paint  has  suffered  greatly  from  time.  This 
window  gains  much  as  a whole  when  viewed  from 
the  other  side  of  the  nave.  On  the  left  under  a 
splendid  canopy  is  a charming  group  of  the  Virgin 
and  Child  and  the  young  John  the  Baptist  bearing  a 
staff  inscribed  lEcce  Slgrtus  ©d,  “Behold,  the  Lamb 
of  God.”  In  the  second  light  is  St  Peter  with  keys, 
presenting  Pierre  Tullier  and  Marie  Bonin,  the  father 
and  mother  of  seven  sons,  all  ecclesiastics,  one  of 
whom,  Pierre,  was  the  dean  of  the  Cathedral  and 
founder  of  the  chapel.  In  the  third  light  St  John 
the  Evangelist,  with  a martyrs  palm  and  behind 
him  an  eagle’s  head,  presents  three  sons  in  ecclesias- 
tical dress  with  the  inscription  under  the  hindmost : 
IPterre  cllcu  tioacn  tie  cette  rgltse  a fatct  ronstrutre 
eet  ctjapelle  l’an  fEtl  ti  i.e.,  “Peter  elected 

dean  of  this  church  caused  this  chapel  to  be  built  in 


BOURGES  CATHEDRAL 


205 


the  year  1531. ” On  the  right  St  James  is  present- 
ing the  other  four  sons.  The  window  is  dated  1532 
in  three  places. 

The  fourth  chapel  on  the  south,  founded  by 
Etampes,  is  called  the  Chapel  of  the  Sacre  Coeur. 
The  glass  is  mostly  modern,  but  in  the  two  side 
lights  are  two  angels  supporting  the  arms  of  Berry, 
of  the  fifteenth  century  ; this  came  from  the  Sainte 
Chapelle  of  Bourges  which  was  destroyed  in  1757. 
In  the  window  on  the  left  of  this  is  a border  of 
the  thirteenth  century,  and  two  small  panels  of  the 
twelfth  century,  which  have  been  recently  removed 
from  the  crypt.  In  the  panel  on  the  right  is  the 
Adoration  of  the  Magi,  and  on  the  left  is  Zachariah 
and  the  Angel. 

The  fifth  chapel  on  the  south  (Leroy)  has  a 
window  of  four  lights  with  three  Apostles  in  each 
light.  The  faces  and  canopies  are  fine,  but  the 
window  is  much  blurred.  In  the  tracery  is  the 
Assumption,  with  adoring  angels  and  two  prophets 
below. 

The  last  chapel  at  the  south-west  of  Bourges 
Cathedral,  founded  by  Pierre  Copin  in  the  sixteenth 
century,  is  known  by  the  curious  title  of  the  Chapelle 
de  la  Bonne  Mort.  It  contains  a much  vaunted 
Renaissance  window  by  Lescuyer,  crowded  with 
small  figures,  and  quite  indistinct  even  at  so  short 
a distance  as  the  opposite  side  of  the  nave.  In 
the  lower  half  are  scenes  of  the  martyrdom  of  St 
Laurence,  which  are  muddled  and  unsatisfactory 
owing  to  the  opacity  of  the  enamel  paint.  In  the 
upper  half  are  three  clearer  and  more  beautiful 


206 


STORIED  WINDOWS 


scenes  of  the  martyrdom  of  St  Stephen.  In  the 
right-hand  light  is  an  inserted  head  of  an  Abbot  of 
the  fifteenth  century,  with  a red  damasked  back- 
ground. At  the  top  of  the  tracery  is  a fleur-de-lis 
in  stone  enclosing  the  head  of  Christ  on  Veronica’s 
Kerchief,  and  the  instruments  of  the  Passion, 
including  Pilate’s  ewer  and  basin,  the  lantern  used 
in  the  evening  in  the  Garden  of  Gethsemane,  and 
Peter’s  sword  with  Malchus’  ear  sticking  to  it,  as  in 
the  window  of  1536  in  St  Vincent  at  Rouen. 

The  West  Rose  contains  a mosaic  of  fine  glass  of 
late  fourteenth  century.  Below  it  is  a window  of 
six  huge  lights  with  very  large  fifteenth-century 
figures  with  brilliant  damasked  backgrounds,  much 
restored.  Beginning  from  the  left  the  figures  are 
Bishop  Guillaume,  St  James,  the  Angel  Gabriel,  the 
Virgin,  St  Stephen,  Bishop  Ursin.  In  the  crypt  of 
Bourges  Cathedral  are  four  windows,  each  containing 
four  figures  of  the  fifteenth  century.  These  came 
from  the  old  Sainte  Chapelle  of  Bourges. 

The  church  of  St  Bonnet  at  Bourges  is  a trun- 
cated chancel,  which  is  now  being  extended  by  a 
large  new  west  front.  It  contains  five  old  windows, 
two  on  the  north  and  three  on  the  south.  The  first 
on  the  north  has  Jesus  rising  from  the  tomb,  which 
some  attribute  to  Lescuyer.  The  second  is  a transi- 
tional window  of  the  early  part  of  the  sixteenth 
century.  In  the  upper  part  on  the  left  is  a saint 
introducing  a father  and  five  sons ; in  the  centre 
is  the  Virgin  and  a kneeling  mother  and  three 
daughters ; on  the  right  is  a Bishop  and  two  kneel- 
ing figures ; below  are  eight  half-length  figures. 


BOURGES— ST  BONNET 


207 


The  first  window  on  the  south  is  the  famous  window 
of  Lescuyer  with  a book  inscribed  Mil  V quarante 
quatre  fait  par  Jehan  le  Cuyie.  The  window  con- 
tains the  legend  of  St  Bonnet,  and  has  the  name 
Laurence  Fauconnier  and  the  date  1544,  surmounted 
by  a diamond-shaped  shield  on  which  are  two 
faucons  (falcons),  and  the  initials  L.  F.  interlaced 
with  a cord,  like  the  same  initials  in  the  three 
windows  of  the  north  aisle  at  Ecouen.  This  may  be 
the  name  of  the  donor  or  of  the  painter  who 
executed  Lescuyer’ s design.  Though  the  pictures 
are  fine,  the  enamel  paint  is  much  worn. 

In  the  second  window  on  the  south  is  the  martyr- 
dom of  St  John  in  boiling  oil,  with  a very  modern- 
looking pair  of  bellows.  The  enamel  paint  in  this 
Renaissance  window  has  greatly  perished. 

The  third  window  on  the  south  has  a Renaissance 
picture  of  St  Denis,  St  John  the  Baptist,  and  another 
saint,  presenting  three  kneeling  figures. 

Regarded  as  pictures  inspired  by  the  art  of 
Raphael,  the  windows  ascribed  to  Lescuyer  may 
deserve  the  rapturous  commendation  which  has  been 
bestowed  upon  them  ; but  as  windows  it  must  be 
confessed  that  they  are  distinctly  failures.  For 
instance,  the  window  in  the  Chapelle  des  Tullier 
has  deteriorated  so  much  in  the  enamel  of  the  faces 
that  it  is  quite  smudgy,  and  in  a vastly  inferior 
state  to  that  of  the  superb  window  of  a century 
earlier  in  the  Chapelle  of  Jacques  Coeur.  However 
beautiful  the  original  picture  may  have  been,  a 
worn-out  window  of  the  middle  of  the  sixteenth 
century  is  contemptible  in  comparison  with  the 


208 


STORIED  WINDOWS 


enduring  windows  of  the  twelfth,  thirteenth,  four- 
teenth, and  fifteenth  centuries.  The  fading  windows 
of  Jean  Lescuyer  and  Linard  Gontier  may  please  the 
Peintre  Verrier,  but  the  ordinary  observer  feels  that 
they  are  miserable  productions  when  compared  with 
the  Crucifixion  window  of  Poitiers  made  several 
centuries  earlier.  It  is  devoutly  to  be  hoped  that 
the  modern  glass  artists  will  take  the  Poitiers 
window  or  the  window  of  Jacques  Cceur  as  their 
model,  and  use  no  enamel  paint  except  the  old  hard 
black  enamel  of  the  ancient  craftsmen  who  produced 
such  abiding  work. 


MOULINS  CATHEDRAL. 

Enlarged  Portrait  of  Pierre,  Husband  of  Barbe  Cadier 


■ 


209 


CHAPTER  XXVII. 

MOULINS  CATHEDRAL. 

In  returning  from  Bourges  to  Paris  it  is  not  much 
out  of  the  way  to  go  round  by  Moulins,  which  is 
sixty-six  miles  from  Bourges.  It  is  well  worth 
while  to  do  so,  for  the  late  fifteenth-century  windows 
at  Moulins  are  most  interesting  in  comparison  with 
the  windows  at  Bourges  made  earlier  in  the  same 
century;  and  good  fifteenth -century  glass  is  so 
comparatively  rare  that  it  is  always  wise  to  seize 
an  opportunity  of  seeing  it.  Moulins  Cathedral  has 
a modern  nave,  but  the  Flamboyant  choir  was  built 
towards  the  end  of  the  fifteenth  century,  between 
1474  and  1508.  Consequently  all  the  old  glass  is 
concentrated  in  the  choir,  where  there  are  twelve 
windows  or  portions  of  windows,  four  on  the  north 
side,  four  in  the  straight  wall  at  the  east  end,  and 
four  on  the  south  side.  All  these  date  from  the  end 
of  the  fifteenth  century  or  the  early  part  of  the 
sixteenth.  There  is  one  more  window  of  Renais- 
sance style  in  the  east  centre  of  the  choir  clerestory. 
In  the  first  window  on  the  north  side  of  the  choir 
coming  from  the  west,  the  old  glass  is  confined  to 

o 


210 


STORIED  WINDOWS 


the  tracery  and  the  pictures  are  rather  poor.  The 
subject  is  the  story  of  Mary  Magdalene.  At  the 
bottom  on  the  left  is  Jesus  discoursing  to  a crowd 
of  men  and  women,  among  whom  is  the  golden- 
haired Mary  Magdalene,  who  is  being  converted  by 
His  words.  On  the  right  is  Jesus  in  the  house  of 
Simon,  at  a hexagonal  table  covered  with  food,  with 
Mary  Magdalene  at  his  feet ; on  each  side  of  the  table 
are  two  persons  of  very  bourgeois  appearance,  who 
seem  much  scandalised.  Higher  up  on  the  left  is  an 
inserted  figure  of  the  risen  Christ,  in  a red  shroud 
which  is  open  in  front,  with  the  mark  of  the  nail  in 
His  hand  ; near  Him  is  an  armed  figure  of  a Roman 
guard  ; on  the  right  is  Mary  Magdalene  baptising 
a convert  amid  a waiting  crowd.  At  the  top  is  a 
yellow  slab,  with  feet  at  the  base,  which  is  supposed 
to  represent  Mary  Magdalene,  whose  golden  hair 
hides  all  but  her  feet ; this  is  being  lifted  by  four 
angels  over  a mountain  below. 

The  second  window  is  of  late  fifteenth  century 
with  five  figures  under  canopies.  On  the  left  is  a 
female  saint  (with  an  inserted  title  Sofyanneg)  in- 
troducing a donors  wife  and  three  daughters,  one 
of  whom  has  a remarkable  head-dress.  In  the 
second  light  is  a saint  in  a cowl  (looking  like  Friar 
Tuck)  introducing  a kneeling  donor  and  six  sons. 
The  canopies  in  the  two  lights  have  no  shafts,  so 
that  the  pictures  seem  to  have  been  inserted  from 
a different  window.  The  canopies  in  the  next  three 
lights  have  the  same  tops  as  those  in  the  first  two 
lights,  but  have  shafts  entwined  with  an  inscription. 
In  these  three  lights  is  the  Virgin  Mother  on  the 


MOULINS  CATHEDRAL. 


MOULINS  CATHEDRAL 


211 


left  with  arms  crossed  and  long  golden  hair,  looking 
like  Mary  Magdalene  ; in  the  centre  is  a very  fine 
picture  of  Christ  crucified  with  His  arms  above  His 
head,  wearing  the  crown  of  thorns,  and  having  very 
wooden-looking  feet,  against  a brilliant  background 
of  a ruby  curtain  damasked  with  angels ; to  the 
right  is  a figure  of  St  John  with  clasped  hands  in  a 
ruby  robe  against  a blue  damasked  curtain.  In  the 
tracery  is  the  Last  Judgment,  of  which  the  top  is 
missing,  with  the  exception  of  two  angels  with 
trumpets  ; below  these  are  three  beautiful  miniature 
pictures ; in  the  centre  is  St  Michael  the  Archangel 
standing  between  two  angels ; in  each  of  the  two 
circles  at  the  sides  are  six  Apostles,  and  round  the 
circles  are  four  angels  with  the  instruments  of  the 
Passion.  Below  are  two  of  the  dead  rising  from 
their  tombs. 

The  third  window  on  the  north  side  of  Moulins 
Choir  has  sixteenth-century  glass,  in  the  tracery 
only,  consisting  of  scenes  of  the  lives  of  St  John 
the  Baptist  and  St  John  the  Evangelist.  In 
the  three  lower  scenes  the  Baptist  is  beheaded, 
and  his  head  is  carried  by  Salome  to  Herod,  who 
is  sitting  full  of  remorse  at  a feast  with  guests. 
In  the  upper  line  are  four  pictures ; to  the  left  is 
Herod  and  a man  and  woman  sitting  opposite  to  a 
crowd  which  includes  several  women  in  the  tall 
head-dresses  of  the  end  of  the  fifteenth  century  ; 
in  the  next  scene  the  Evangelist  with  a book  is 
teaching  four  Christians ; in  the  third  the  Baptist 
is  apparently  with  Christ  at  the  river  Jordan,  but 
the  scene  is  not  very  clear;  above  it  is  a border 


212 


STORIED  WINDOWS 


of  red,  full  of  faces,  above  which  are  tongues  of 
fire.  In  the  scene  to  the  right  is  the  Evangelist 
with  a book  and  a goat,  with  tongues  of  fire 
above.  At  the  top  on  the  left  is  the  Evangelist 
in  Patmos ; in  the  centre  the  Baptist  stands  before 
a building,  and  above  is  an  angel  with  a torch. 
On  the  right  is  a figure  of  later  style  with  smudged 
enamel  paint,  apparently  inserted.  The  fourth 
window  is  fragmentary  in  the  lower  lights,  with 
the  story  of  St  Elizabeth  in  the  tracery.  In  the 
left  light  is  a fine  face  of  a Bishop.  Next  to  this 
is  St  John  of  later  style  with  a very  chubby  face. 
In  the  third  light  is  a good  portrait  of  a kneeling 
donor.  The  fourth  light  is  filled  with  white  glass. 
In  the  tracery  on  the  left  is  St  Elizabeth  humbly 
seated  among  the  poor  listening  to  a preacher.  On 
the  right  are  people  praying  at  her  tomb,  on  which 
are  two  ex-voto  feet  and  a hand.  At  the  top 
St  Elizabeth,  dressed  as  a hospital  nurse,  is  giving 
food  and  money  to  the  sick  poor. 

The  straight  east  wall  of  Moulins  choir  contains 
three  of  the  best  windows  of  the  end  of  the 
fifteenth  century.  The  first  of  these  on  the  left 
is  the  finest  and  most  famous  of  all  the  windows 
in  the  Cathedral.  It  is  of  rich  warm  colour,  with 
clear  fine  faces  showing  the  influence  of  the  early 
Renaissance.  It  is  known  as  the  window  of  the 
Dukes  of  Bourbon  and  of  St  Catherine,  whose 
story  is  depicted  in  the  tracery. 

In  the  left  light  is  St  Anne  and  the  infant 
Virgin  with  a book,  and  kneeling  before  her  is 
Catherine  d’Armagnac,  wife  of  Jean,  sixth  due  de 


<3  ? 

H 

c n 


MOULINS  CATHEDRAL. 


MOULINS  CATHEDRAL 


213 


Bourbon.  In  the  next  light  kneels  Anne  de  France, 
daughter  of  Louis  XI.,  who  married  Pierre,  eighth 
due  de  Bourbon,  in  1474,  and  he  kneels  in  front 
of  her,  and  beside  them  are  their  children.  In  the 
centre  light  is  a lovely  Raphaelesque  Renaissance 
figure  of  St  Catherine  with  a sword,  trampling  on 
the  crowned  Emperor  Maximinus,  as  in  a window 
in  West  Wickham,  Kent.  This  picture  is  evidently 
inserted,  because  the  mullion  has  been  removed 
and  two  canopies  have  been  partly  cut  away  to 
make  room  for  it.  In  the  light  to  the  right  of 
St  Catherine  kneels  Cardinal  Charles  de  Bourbon, 
who  bears  a striking  resemblance  to  Charles  X. 
In  the  outer  right-hand  light  kneels  Jean,  sixth 
due  de  Bourbon  ; behind  him  stand  St  Charlemagne 
and  St  John  with  most  unsain tly  faces,  looking 
like  men-at-arms  of  a Free  Company. 

In  the  tracery  is  the  legend  of  St  Catherine. 
In  the  lowest  line  of  the  tracery  are  four  bands 
inscribed  Catijertna*  On  the  right  St  Catherine 
tries  to  convert  the  seated  Emperor  Maximinus,  and 
on  the  left  she  disputes  with  orators  before  the 
Emperor.  In  the  upper  centre  St  Catherine  is 
kneeling  before  a wheel,  which  an  angel  above  has 
shattered  with  a thunderstorm  and  the  splinters 
have  wounded  three  executioners,  two  of  whom 
have  most  expressive  faces  of  dismay.  On  the 
left  of  this  St  Catherine  is  beheaded,  and  on  the 
right  angels  carry  her  upwards. 

The  second  window  has  a beautifully  simple 
picture  of  the  Crucifixion  (illustrated  p.  44) ; it  is 
a real  transitional  window  of  the  end  of  the  fifteenth 


214 


STORIED  WINDOWS 


century.  The  arms  of  Christ  are  lifted  high  above 
His  head,  and  three  angels  with  chalices  receive 
the  blood  from  His  feet  and  side,  as  in  the  East 
window  of  St  Margarets,  Westminster  ; the  angel 
on  the  left  is  holding  one  chalice  to  His  side  and 
is  lifting  up  another  chalice  towards  His  hand.  In 
the  two  outer  lights  are  the  Virgin  and  St  John ; 
the  face  of  the  sorrowing  Virgin  Mother  is  full 
of  expression.  In  the  tracery  are  angels  with  em- 
blems of  the  Passion.  In  the  middle  of  the  tracery 
two  small  compartments  are  filled  with  rising  flames. 

The  third  of  these  windows  contains  a well- 
grouped  picture  of  the  end  of  the  fifteenth  cen- 
tury, which  may  be  compared  with  the  picture  in 
the  splendid  window  of  half  a century  earlier  in 
the  chapel  of  Jacques  Coeur  at  Bourges  ; the  Moulins 
window  is  not  so  simple  in  its  grouping  as  the 
Bourges  window,  and  it  shows  a slight  tendency 
to  the  overcrowding  which  so  often  mars  the 
beauty  of  Renaissance  windows,  while  the  Bourges 
window  foreshadows  the  refined  drawing  and  beauti- 
ful arrangement  which  is  the  glory  of  Renaissance 
windows.  Here,  as  in  Bourges,  the  scene  is  laid  in 
a chapel  with  seven  windows  ; the  Moulins  chapel 
is  arched  over  by  a canopied  roof  supported  by  one 
large  pillar  on  each  side.  In  the  centre  light  is  the 
Virgin  and  Child  on  a golden  throne  with  a green 
top,  and  there  are  five  angels  on  each  side,  who 
extend  into  the  side  lights.  On  the  left  is  a fine 
figure  of  St  Peter  with  an  enormous  key  introducing 
a kneeling  donor  of  the  name  of  Pierre,  whose  face 
is  an  excellent  portrait.  On  the  right  Ste  Barbe, 


MOULINS  CATHEDRAL. 


MOULINS  CATHEDRAL. 

Enlarged  Portrait  of  the  Donor,  Barbe  Cadier. 


MOULINS  CATHEDRAL 


215 


with  her  tower  in  her  hand,  is  introducing  Barbe 
Cadier,  the  wife  of  Pierre  ; in  the  tracery  are  angels 
with  musical  instruments. 

The  three  very  satisfactory  windows  above  de- 
scribed repay  a careful  and  prolonged  examination, 
more  especially  as  they  are  low  down  and  easy  to 
examine.  They  form  a picture-gallery  of  very 
human  faces  well  portrayed,  and  in  them  there  is  a 
meeting  and  blending  of  the  late  Gothic  style  with 
the  style  of  the  early  Renaissance,  for  the  large  sim- 
plicity of  the  fifteenth  century  is  enriched  by  the 
splendid  draughtsmanship  and  artistic  composition 
of  the  sixteenth  century. 

The  fourth  window  in  the  east  wall  is  fragmentary. 
The  left  light  is  partially  filled  with  a Jesse  tree, 
ending  at  the  top  with  the  Child  Jesus  between 
Joseph  and  Joachim.  Many  of  the  faces  below 
are  very  fine.  In  the  middle  of  the  tree  is  an 
unusual  representation  of  David  on  horseback. 
In  the  tracery  is  the  story  of  St  Joachim  and 
St  Anne  in  glass  which  is  much  restored.  At  the 
top  are  two  angels  with  music.  In  the  upper  part 
on  the  left  are  Joachim  and  Anne  giving  alms  to 
the  poor.  On  the  right  the  offering  of  Joachim 
and  Anne  is  rejected  by  the  High  Priest  because 
they  have  no  child.  In  the  centre  below  is  a 
pathetic  picture  of  the  elderly  couple  embracing 
at  the  Golden  Door.  On  the  right  and  left  of  this 
are  St  Anne  and  St  Joachim  praying,  while  angels 
above  them  bring  the  answers  to  their  prayers 
inscribed  on  long  bands. 

The  careful  elaboration  of  the  pictures  in  the 


216 


STORIED  WINDOWS 


tracery  at  Moulins  is  very  remarkable.  It  is  prob- 
ably due  to  the  fact  that  the  windows  are  so  low 
down  that  the  pictures  in  the  tracery  are  clearly 
visible. 

The  windows  on  the  south  wall  of  the  choir  of 
Moulins  Cathedral  are  very  poor  in  comparison 
with  the  three  noble  windows  on  the  east  wall. 

The  first  window  on  the  south  wall  is  of  the  end 
of  the  fifteenth  century.  It  is  dulled  by  an  ex- 
cessive amount  of  white.  In  three  lights  there  is 
a crowd  of  Martyrs,  and  the  fourth  light  contains 
a confused  jumble.  In  the  tracery  are  angels  bearing 
the  Martyrs  to  heaven,  above  which  are  the  white 
souls  surrounded  by  blue  angels  adoring  the  Eternal 
Father,  who  is  in  a golden  aureole  encircled  by  red 
angels.  The  faces  though  crowded  are  clear,  and 
the  colour  of  the  tracery  is  brilliant. 

The  second  window  on  the  south  wall  is  a pale 
dull  window  of  the  sixteenth  century  in  eight  com- 
partments with  pictures  of  Crusaders.  At  the  base 
of  one  light  there  is  an  aged  donor  whose  face  looks 
very  fine  when  seen  in  the  evening  light,  but  it  is 
very  dim  in  the  morning. 

The  third  window  on  the  south  wall  is  also  of  the 
sixteenth  century ; it  is  much  damaged  by  time.  In 
the  four  lights  are  four  saints  with  kneeling  donors. 
In  the  tracery  is  the  Assumption  and  the  Annuncia- 
tion, and  scenes  of  the  lives  of  St  John  the  Baptist 
and  St  John  the  Evangelist. 

In  the  fourth  window  three-quarters  of  the  lower 
lights  are  filled  with  white  glass.  In  the  top  of  the 
left  light  is  a fine  inserted  picture  of  the  dead  Christ 


Portrait  of  an  aged  Donor  at  the  base  of  the  Crusaders’  Window. 

XYIth  Century. 


MOULINS  CATHEDRAL. 


MOULINS  CATHEDRAL 


217 


on  the  ground  showing  the  spear  wound  in  His  side, 
with  the  Virgin  bending  over  Him,  and  Joseph  of 
Arimathsea,  and  a woman  behind  with  a box  of 
spices.  In  the  right-hand  light  is  a bust  from 
some  other  window.  In  the  tracery  is  the  martyr- 
dom of  St  Barbe.  At  the  top  St  Barbe  is  visited 
by  two  angels  while  praying  before  an  altar ; below 
this  on  the  left  pagans  are  trying  to  force  St  Barbe 
to  worship  the  idol  which  is  on  the  right.  Below 
the  tracery  in  the  top  part  of  the  two  central  lights 
St  Barbe  is  tied  to  a pillar  and  scourged  and 
tortured.  On  each  side  of  the  tracery  are  children 
playing,  and  there  is  the  motto  nichil  agere 
penitendum,  “ to  do  nothing  which  has  to  be 
repented  of.” 

The  central  east  window  of  the  clerestory  of  the 
choir  contains  a fine  Renaissance  picture  of  the 
sixteenth  century,  very  much  restored  in  1842. 
The  subject  is  the  Death  of  the  Virgin  in  a single 
well-grouped  picture  which  fills  four  lights.  In 
the  corners  are  the  donors,  Pierre  de  Bourbon  (who 
died  in  1508)  on  one  side,  and  Anne  de  France,  his 
wife,  with  their  daughter  Suzanne  de  Bourbon  (who 
married  Charles  count  de  Montpensier)  on  the 
other  side. 

About  a mile  and  a half  from  Moulins  is  Yzeure, 
where  there  is  an  interesting  Romanesque  church, 
but  it  is  devoid  of  old  glass.  In  the  Museum  at 
Moulins  is  the  famous  Bible  of  Souvigny,  an 
illuminated  Manuscript  of  the  twelfth  century 
with  122  miniatures  and  initial  letters,  one  of  the 
very  finest  known  books. 


218 


CHAPTER  XXVIII. 

GLASS-HUNTING  EAST  OF  PARIS,  BEGINNING  WITH 
THE  CATHEDRAL  OF  SENS. 

East  of  Paris  lies  one  other  part  of  France  quite 
as  remarkable  for  its  fine  old  Gothic  Glass  as  the 
western  triangle  formed  by  Rouen,  Le  Mans,  and 
Chartres,  and  the  centre  of  Western  France.  In 
one  respect  this  district  is  more  convenient  to  visit 
than  the  western  triangle,  because  all  the  churches 
and  cathedrals  are  entirely  open,  and  it  is  not 
necessary  to  fee  a Suisse  (or  Verger)  to  unlock  the 
doors  leading  into  the  choir,  as  is  the  case  in  the 
north-west  of  France.  This  district  is  included  in 
the  narrow  parallelogram  of  which  Sens,  Auxerre, 
Chalons-sur-Marne,  and  Reims  form  the  corners.  In 
the  centre  of  this  region  is  the  Cathedral  town  of 
Troyes,  where  good  glass  abounds.  It  is  all  very 
accessible  from  Paris,  because  the  farthest  point  is 
only  107  miles  distant.  Students  of  English  his- 
tory will  find  many  points  of  interest  there ; and 
the  country  is  more  especially  permeated  with 
memories  of  Archbishop  Becket,  who  lived  in  exile 
at  Sens  and  Pontigny,  and  went  to  Soissons  and 


SENS  CATHEDRAL 


219 


Montmirail,  and  visited  Troyes  on  several  occasions. 
The  glass  in  this  locality,  though  extremely  fine, 
is  less  completely  representative  in  character  than 
the  glass  of  Rouen,  Evreux,  Sees,  Le  Mans,  and 
Chartres,  because  there  is  comparatively  little  glass 
of  the  fourteenth  and  fifteenth  centuries,  and 
scarcely  any  of  the  twelfth  century.  But  the 
thirteenth-century  glass  is  plentiful,  and  the  quan- 
tity of  lovely  sixteenth-century  glass  is  enormous. 

In  Sens  Cathedral,  besides  grisaille,  there  are 
twenty-two  fine  old  windows,  of  which  ten  are  of 
the  thirteenth  century  and  the  remainder  of  the 
sixteenth.  Of  the  ten  windows  of  the  thirteenth 
century,  the  four  in  the  north  ambulatory  of  the 
choir  rank  among  the  very  best  windows  of  their 
time. 

The  first  of  these,  starting  from  the  west,  is  the 
well-known  window  of  Becket,  inscribed  «£t  JCljOtttaS 
(Cant  at  the  foot  of  the  lowest  right-hand  medal- 
lion. It  contains  thirteen  medallions,  with  a beauti- 
ful border  and  floral  scrolls  between  the  medallions 
in  the  style  of  the  thirteenth-century  windows  at 
Canterbury.  The  window  is  round-arched,  and  the 
glass  is  in  excellent  condition,  and  it  belongs  to 
the  early  years  of  the  thirteenth  century;  some 
have  tried  to  assign  it  to  the  end  of  the  twelfth, 
but  this  theory  is  decisively  negatived  by  the 
shaped  bars.  The  scenes  represent  the  end  of  the 
Archbishop's  life.  In  the  first  medallion  to  the 
left  at  the  foot  of  the  window  is  King  Louis  VII., 
whose  head  has  been  restored ; he  is  reconciling 
Becket  to  Henry  II.,  whose  attendant  Barons  seem 


220 


STORIED  WINDOWS 


much  disgusted.  In  the  second  medallion  to  the 
right  is  Becket  returning  to  England  in  a ship, 
and  sinister-looking  armed  men  are  awaiting  him 
on  the  shore.  In  the  third,  fourth,  and  fifth  Becket 
rides  to  Canterbury,  and  is  welcomed  by  the  clergy 
and  preaches  to  the  people.  In  the  sixth  and 
seventh  Becket  celebrates  the  Holy  Communion. 
In  the  eighth  the  knights  meet  Becket,  and  in  the 
ninth  he  is  going  to  the  Cathedral,  and  caresses  a 
child  in  its  mother's  arms.  In  the  tenth  and 
eleventh  the  murderers  enter  the  Cathedral  and 
kill  Becket,  whose  burial  is  depicted  in  the  twelfth. 
In  the  thirteenth  Jesus  Christ,  in  a semi-medallion 
at  the  top  of  the  window,  is  supposed  to  be  receiv- 
ing from  the  angels  the  sacrifice  of  Becket.  This 
window  should  be  compared  with  the  window  of 
the  same  subject  at  Chartres,  which  is  described 
in  chapter  xix. 

The  second  window,  also  round-arched,  contains 
the  legend  of  :J|lacttlU5  who  was  converted  by  the 
stag  and  then  baptised  with  the  name  of  CFustagtUg* 
The  window  is  entirely  restored  at  the  lower  part, 
to  the  extent  of  about  two-thirds  of  the  whole.  In 
the  ninth  medallion  St  Eustache  is  seated  with  his 
wife  and  two  children  who  have  been  resuscitated. 
In  the  tenth  he  gains  a victory.  In  the  eleventh 
and  twelfth  he  refuses  the  command  of  the  Emperor 
Hadrian  to  return  thanks  to  an  idol ; and  in  the 
thirteenth,  at  the  top,  is  the  martyrdom  of  St 
Eustache  with  his  wife  and  children  in  a brazen 
ball  enveloped  by  flames. 

The  third  is  the  excellent  window  of  the  Prodigal 


Goon  Samaritan  in  North  Ambulatory.  XIIIth  Century. 


SENS  CATHEDRAL 


221 


Son,  one  of  the  best  Biblia  Pauperum  windows. 
The  pictures  are  simple  and  clear  and  not  over- 
crowded with  small  figures.  The  window  consists 
of  twelve  medallions,  six  on  each  side.  In  the  first 
two  the  younger  son  receives  his  share,  much  to 
the  disgust  of  his  elder  brother.  In  the  third  he 
is  in  a far  country  wasting  his  goods  with  six 
courtesans.  In  the  next  two  he  is  in  a state  of 
misery.  In  the  sixth  he  repents,  but  is  held  en- 
chained by  three  demons.  In  the  next  three  he 
returns,  and  is  welcomed,  robed,  and  feasted  by 
his  father.  In  the  last  three  the  elder  son  ex- 
hibits his  discontent  at  his  father’s  treatment  of 
the  returned  prodigal.  The  window  of  the  Prodigal 
Son  at  Bourges  (p.  193)  should  be  compared  with 
this,  but  the  subject  is  not  treated  entirely  in  the 
same  way. 

The  fourth  of  these  splendid  windows  in  the 
north  ambulatory  of  the  choir  of  Sens  contains  three 
diamond-shaped  medallions  down  the  centre  with 
the  story  of  the  Good  Samaritan.  At  the  top  is 
the  city  of  Jerusalem  whence  the  traveller  started. 
In  the  uppermost  diamond  the  man  is  being  as- 
saulted and  robbed  by  the  thieves,  and  round  it 
are  four  medallions  with  the  story  of  Adam  and 
Eve.  In  the  second  diamond  is  the  wounded  man 
seated  and  the  priest  and  the  Levite,  and  round 
it  another  set  of  four  medallions  contain  in  the 
first  Joseph,  seated  next  to  Pharaoh,  giving  corn 
to  his  brothers ; in  the  other  three  Moses  is  repre- 
sented with  the  Brazen  Serpent,  and  as  breaking 
the  Tables  of  the  Law,  and  at  the  Burning  Bush. 


222 


STORIED  WINDOWS 


In  the  lowest  diamond  is  the  Good  Samaritan  and 
the  innkeeper,  and  round  it  four  medallions  con- 
taining pictures  of  Christ  before  Pilate,  the  Scourg- 
ing, the  Crucifixion,  and  the  Holy  Women  at  the 
tomb  of  the  risen  Saviour.  Compare  the  window 
of  the  Good  Samaritan  at  Bourges,  described  on 
p.  192. 

The  eastern  chapel  of  Sens  Cathedral  is  dedi- 
cated to  St  Savinien ; for  the  Lady  Chapel  is  placed 
to  the  east  of  the  south  transept.  The  three  east 
windows  are  of  two  lancets  each,  surmounted  by  a 
quatrefoil,  in  the  centre  of  which  there  is  a medallion. 
The  north  window  on  the  left  contains  the  history 
of  St  Paul,  and  that  on  the  south  seems  to  contain 
the  story  of  St  Peter.  The  central  East  window 
of  this  chapel  has  some  scenes  of  martyrdom,  but 
the  lower  half  is  hidden  by  a piece  of  barbarous 
stone  drapery,  looking  like  a dirty  tumbled  cloth, 
and  making  a hideous  eyesore,  which  forms  the 
central  point  in  sight  of  any  one  entering  at  the 
west  door  and  walking  up  the  Cathedral.  All  these 
three  windows  have  been  much  restored,  and  the 
glass  looks  very  new,  although  it  was  originally  of 
the  thirteenth  century. 

At  the  east  end  of  the  choir  clerestory  are  three 
windows  of  the  late  thirteenth  century.  The  first 
to  the  left  on  the  north  side  contains  the  life  of 
the  Virgin,  from  the  Annunciation  to  the  Flight 
into  Egypt,  and  in  the  trefoil  above  is  the  Triumph 
of  the  Virgin.  The  window  to  the  right  on  the 
south  side  contains  the  history  of  St  Stephen,  the 
patron  of  the  Cathedral.  In  the  central  East  win- 


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SENS  CATHEDRAL. 

Jesse  Tree  in  South  Transept.  1502. 


SENS  CATHEDRAL 


223 


dow  of  the  choir  clerestory  is  the  Passion  of  Jesus 
Christ.  These  three  windows  have  an  unusual 
amount  of  white  glass,  and  are  very  clean  and 
clear,  looking  a good  deal  restored.  They  are  not 
at  all  impressive,  being  some  of  the  dullest  windows 
of  the  late  thirteenth  century.  But  the  feebleness 
of  these  windows  is  more  than  compensated  by  the 
splendour  of  the  noble  windows  of  the  sixteenth 
century  in  the  transepts. 

The  south  transept  of  Sens  Cathedral  is  com- 
pletely glazed  with  two  immense  windows  on  each 
side  and  an  enormous  south  Rose  with  a fine 
window  below  it.  These  windows  were  made  in  the 
year  1502,  when  the  south  transept  was  completed. 
They  were  done  by  four  artists  of  Troyes,  named 
Lyenin,  Macadre,  Verrat,  and  Godon,  the  same 
artists  who  made  some  of  the  windows  in  the  nave 
of  the  cathedral  of  Troyes.  The  first  to  the  left 
on  entering  the  transept  contains  a Jesse  tree; 
but  among  the  Kings  who  represent  ancestors  of 
Christ  are  placed  two  Sibyls,  and  a quadruped 
which  is  supposed  to  represent  Balaams  Ass.  In 
designing  this  Jesse  tree  the  artist  seems  to  have 
had  the  idea  of  filling  the  tree  with  prophets  in- 
stead of  the  usual  ancestors  of  Christ.  The  tree 
has  a remarkable  red  ground,  and  at  each  side  are 
four  very  clear  pictures  of  Gideons  fleece  and  the 
Burning  Bush  and  two  prophets  on  one  side,  and 
Abraham  and  Melchizedek  and  two  more  prophets 
on  the  other  side. 

To  the  right  of  this  window  is  another  very  tall 
four-light  window  having  at  the  base  four  donors 


224 


STORIED  WINDOWS 


being  presented  by  Saints,  the  third  of  whom  is 
Sainte  Colombe  in  royal  crown  and  ermine  mantle, 
with  her  hand  on  the  sword  with  which  she  was 
martyred ; above  which  are  brilliant  and  satisfying 
pictures  of  the  story  of  St  Nicolas,  beginning 
with  the  new-born  child  astonishing  his  nurses  by 
standing  up  in  his  bath ; then  he  endows  three 
young  daughters  of  a despairing  father ; he  is 
chosen  as  Bishop  of  Myra ; he  is  consecrated ; he 
saves  a sinking  ship ; he  rescues  three  young  men 
from  execution ; he  is  on  his  death-bed,  and  angels 
are  carrying  his  soul  to  heaven.  This  may  be  com- 
pared with  the  window  of  St  Nicolas  at  St  Florentin, 
which  contains  all  these  scenes  except  the  last  one. 

The  south  rose  has  vivid  pictures  of  the  Last 
Judgment;  connected  with  it  by  the  tracery  is  a 
window  of  gorgeous  colour  with  ten  pictures  of 
the  story  of  St  Stephen.  In  the  first  three  St 
Stephen  is  elected  as  Deacon  and  ordained  and 
preaches  to  the  angry  Jews ; in  the  next  three  he 
is  accused,  condemned,  and  led  to  execution ; in 
the  seventh  he  is  stoned  to  death  by  the  furious 
Jews ; in  the  eighth  Saul  sits  by  a basket  of  stones 
with  the  clothes  of  the  men  on  his  knees ; in  the 
ninth  animals  try  to  devour  the  dead  body,  but 
it  is  protected  by  birds,  while  two  angels  carry  St 
Stephen's  soul  to  heaven ; the  last  scene  represents 
the  burial  of  St  Stephen.  On  the  right  side  of  the 
south  transept  are  two  great  windows,  each  contain- 
ing eight  pictures  of  brilliant  colour,  beautifully 
framed  in  white  with  yellow  stain.  In  the  first 
of  these,  at  the  top,  Gamaliel,  with  three  vases  of 


SENS  CATHEDRAL 


225 


gold  and  one  of  silver,  with  red,  white,  and  yellow 
flowers,  is  looking  at  the  sleeping  Lucian ; and  the 
word  Huctan  is  inscribed  in  the  two  upper  pictures 
on  the  left  hand.  In  the  next  three  pictures  the 
body  of  St  Stephen  is  discovered.  In  the  next  two 
the  Senator  Alexander  is  buried  beside  St  Stephen, 
and  in  the  last  two  the  Senator’s  wife  is  allowed 
by  the  Patriarch  of  Jerusalem  to  remove  her  hus- 
bands body  on  a chariot ; but  she  takes  by  mistake 
the  body  of  St  Stephen.  The  next  window  con- 
tinues the  legend  of  St  Stephens  body ; in  the  first 
picture  the  sailors  of  the  ship  with  the  real  body 
of  St  Stephen,  being  assailed  by  demons,  invoke 
St  Stephen,  and  in  the  second  Eudoxia,  possessed 
of  a demon,  prays  that  St  Stephens  body  may  be 
transferred  to  Rome.  In  the  third  the  body  of 
St  Stephen  cannot  be  taken  into  the  church  of  St 
Peter  for  the  horses  stand  still,  and  Eudoxia  de- 
clares that  it  must  be  taken  to  St  Laurent,  where 
in  the  fourth  medallion  the  Pope  receives  Eudoxia 
and  the  workmen  prepare  the  tomb.  In  the  fifth 
are  trembling  bishops  and  priests  addressing  the 
Pope.  In  the  sixth  Eudoxia  is  delivered  from  the 
demon.  In  the  seventh  a mother  makes  her  sick 
child  touch  the  tomb.  In  the  last,  one  who  is 
possessed  by  a demon  is  cured  before  the  multitude. 
It  is  difficult  to  imagine  any  transept  more  splen- 
didly glazed  than  the  south  transept  of  the  cathedral 
of  Sens. 

The  north  transept  was  finished  in  1504,  and 
the  windows  are  the  work  of  native  artists  of  Sens. 

p 


226 


STORIED  WINDOWS 


The  north  Rose  is  much  lighter  in  colour  than  the 
south  Rose,  and  the  window  below  is  not  so  tall, 
and  there  is  more  white  and  less  brilliant  colour 
in  it  than  in  the  south  transept  window ; but 
whereas  only  the  centre  of  the  south  Rose  contains 
pictures,  the  whole  of  the  north  Rose  is  filled  with 
the  celestial  choir  round  Christ  in  the  centre,  on 
each  side  of  whom  is  St  Peter  and  St  Paul.  In 
the  window  below,  Gabriel  at  the  top  shows  Para- 
dise and  the  limbo  of  the  just  Israelites  to  Daniel. 
In  the  second  light  Gabriel  announces  to  Zachariah 
the  birth  of  John  the  Baptist.  In  the  third  is  a 
beautiful  Annunciation,  strangely  utilised  for  Gabriel 
to  present  Gabriel  Gouffier,  the  donor,  to  the  Virgin. 
In  the  fourth  Gabriel  tells  Daniel  of  the  coming  of 
the  Christian  law,  by  showing  him  a rather  spiteful 
picture  of  the  triumph  of  Christianity,  represented 
by  an  exulting  figure  crowned  and  holding  a 
standard  and  a chalice,  and  the  humiliation  of  the 
Synagogue,  represented  by  a figure  with  downcast 
eyes,  whose  crown  is  fallen  and  standard  broken, 
like  the  figures  in  the  little  window  at  Orbais 
l’Abbaye.  In  the  fifth  Michael  the  Archangel  is 
spearing  a reversed  man,  whose  crown  has  fallen 
from  his  head,  apparently  a persecuting  Emperor. 
This  may  be  regarded  as  a real  Nouvelle  Alliance 
window. 

The  first  window  to  the  left  on  entering  the 
north  transept  of  Sens  Cathedral  contains  eight 
large  and  imposing  figures  of  St  Savinien,  St 
Potentien,  St  Stephen,  and  St  Laurence  above ; 
and  below,  in  splendid  robes,  in  the  centre  lights, 


SENS  CATHEDRAL 


227 


Sainte  Colombe  and  Sainte  Beate,  who  were  mar- 
tyred at  Sens,  and  in  the  outer  lights  Sainte  Paule 
and  Mary  Magdalene  grown  old  and  shrunken. 
Facing  this  window  on  the  right  is  a window  con- 
taining sixteen  archbishops,  each  framed  in  a broad 
handsome  white  border. 

The  two  inner  windows  are  Biblia  Pauperum , 
each  containing  sixteen  pictures.  On  the  left  is 
the  story  of  Abraham,  Isaac,  and  Jacob,  continued 
on  the  right  by  the  story  of  Jacob,  beginning  with 
the  vision  of  Angels  and  ending  with  the  story 
of  Joseph.  The  Abraham  window  on  the  left  is 
rather  confused  in  colour  and  composition,  but 
splendid  when  examined  with  a field-glass.  The 
Jacob  and  Joseph  window  on  the  right  is  much 
cleaner  and  brighter,  with  very  distinct  pictures. 
Though  the  windows  of  the  north  transept  of  Sens 
are  very  fine,  yet  they  do  not  produce  the  same 
deep  impression  as  those  of  the  south  transept, 
showing  that  the  artists  of  Troyes,  who  were  em- 
ployed to  make  the  glass  in  the  south  transept, 
vrere  superior  to  the  native  Sens  artists,  who  did 
the  work  of  the  windows  in  the  north  transept. 
In  the  chapel  to  the  left  of  the  eastern  chapel  is 
a window  with  a Crucifixion,  dated  1748,  which 
affords  a good  instance  of  the  misuse  of  enamel 
paint  in  the  eighteenth  century. 

In  the  choir  clerestory  are  twelve  magnificent 
grisaille  windows,  six  on  each  side,  surmounted  by 
trefoils  with  a circular  medallion  in  the  centre. 
There  are  also  two  windows  by  Jean  Cousin  on 
the  south  side  of  Sens  Cathedral,  which  exhibit 


228 


STORIED  WINDOWS 


the  strength  and  weakness  of  the  art  of  glass 
painting  which  was  developed  as  the  sixteenth 
century  advanced.  As  pictures  these  are  the 
work  of  a great  artist,  but  as  windows  they  show 
the  beginning  of  the  decadence.  One  of  these  in 
the  chapel  to  the  right  of  the  eastern  chapel  on 
the  south  side  is  a much  vaunted  window  of  the 
Tiburtine  Sibyl  by  Jean  Cousin ; the  colouring  is 
pleasing  and  the  drawing  is  vigorous,  but  with  the 
exception  of  the  Sibyl  herself  the  figures  seem 
rather  coarse. 

The  other  window  of  Jean  Cousin  is  the  first 
on  the  south  side  of  the  nave  on  entering  from 
the  west.  It  contains  the  story  of  Eutropius, 
and  it  is  dated  1530,  so  that  it  is  some  of  his 
earliest  work,  before  he  was  thirty  years  of  age. 
It  contains  a fine  series  of  pictures,  but  it  is  a dull 
window  when  compared  with  the  brilliant  windows 
in  the  transepts  of  about  thirty  years  earlier.  It 
illustrates  the  difference  between  the  beautifully 
translucent  glass  of  the  early  Renaissance  and  the 
dull  opaque,  misty  surface  which  soon  became  so 
marked  a characteristic  of  the  glass  of  Elizabethan 
time.  The  difference  becomes  especially  manifest 
when  both  are  examined  with  a field-glass. 

The  window  has  four  lights  with  eight  pictures 
surmounted  by  three  roses  with  a quatrefoil.  The 
date  is  on  the  throne  of  the  upper  picture  on  the 
left,  where  Eutropius  is  sent  by  his  father  the  King 
of  Persia  to  visit  Herod.  In  the  second  picture 
Eutropius  is  riding  away,  and  several  people  seem 
sorry  to  see  him  go.  In  the  third  he  sees  Jesus 


SENS  CATHEDRAL 


229 


feeding  the  five  thousand  with  loaves  and  fishes. 
In  the  fourth  he  is  converted  and  blessed  by  Christ. 
In  the  fifth  he  is  at  Saintes  as  the  evangelist  of 
Gaul  baptising  the  Princess  Eustelle.  In  the  sixth 
he  is  consecrated  as  Bishop  by  the  Pope  and  a 
Cardinal.  In  the  seventh  he  is  preaching  to  a 
congregation  in  the  country.  In  the  eighth  is  his 
martyrdom  by  stones  and  staves,  while  near  him 
is  the  Bishop,  who  is  to  be  his  successor,  presenting 
to  him  the  plan  of  a church. 

Sens  is  especially  interesting  to  English  people, 
because  Archbishop  Becket  lived  for  two  years,  from 
1164-1166,  at  the  Benedictine  Monastery  of  Sainte 
Colombe-lez-Sens,  outside  the  town  of  Sens.  In  the 
cathedral  of  Sens  are  preserved  the  robes  of  Arch- 
bishop Becket,  who  must  have  had  a very  large 
frame  to  fill  them.  There  is  a copy  of  these  in 
Canterbury  Cathedral.  This  cathedral  was  built 
by  William  of  Sens,  who  afterwards  introduced  the 
French  Gothic  style  of  architecture  into  England 
by  building  the  choir  of  Canterbury  Cathedral. 


230 


CHAPTER  XXIX. 

ST  JULIEN  DU  SAULT. 

Fourteen  miles  from  Sens  on  the  way  to  Auxerre 
is  St  Julien  du  Sault,  which  well  repays  a visit. 
Good  food  is  supplied  at  the  old-fashioned  Hotel 
des  Bons  Enfans,  kept  by  a landlord  who  has  been  a 
chef  at  London  hotels.  L’Abb^  Pierre,  the  courteous 
and  learned  Doyen  (or  Dean)  of  the  church,  is  much 
interested  in  his  windows  and  very  kind  in  giving 
information  about  them.  In  the  church  are  ten 
beautiful  windows  of  the  thirteenth  century,  and 
four  of  the  sixteenth,  all  in  the  ambulatory  of  the 
Choir. 

The  first  window  of  the  thirteenth  century  on  the 
north  has  very  fine  medallions,  with  the  history  of 
Seta.  JWargartta  whose  name  is  inscribed  in  many 
places. 

The  second,  going  eastward,  contains  a Life  of  the 
Virgin  in  excellent  state.  It  has  a border  of  golden 
fleurs-de-lis  on  a blue  ground,  having  been  given  by 
St  Louis  when  the  church  was  built. 

In  the  third  is  a life  of  St  John  the  Baptist. 
Between  the  medallions  is  a blue  diaper  filled  with 


ST  JULIEN  DU  SAULT 


231 


golden  fleurs-de-lis . The  two  centre  medallions 
of  diamond  shape  are  filled  with  new  glass. 

The  fourth  is  a fine  window  inscribed  £♦  Soljeg  ♦ tfn* 
The  twenty-eight  medallions  are  restored  but  in  good 
condition.  The  subject  is  the  life  of  St  John  the 
Evangelist. 

The  fifth,  which  lies  to  the  left  of  the  East  window, 
has  a border  of  Jleurs-de-lis  and  gold  castles.  On 
the  left  is  the  martyrdom  of  St  Blaise.  On  the 
right  are  St  Peter  and  St  Paul.  This  window  is 
much  restored  with  glaring  colour,  especially  an 
ugly  magenta  red.  The  central  East  window  con- 
tains scenes  of  the  Passion.  There  is  new  glass  in 
the  two  middle  medallions  on  the  left  and  in  the 
second  from  the  top  on  the  right.  The  inscription 
states  that  these  windows  oj  Xlllth  and  XVIth 
were  restored  from  1881  to  1887.  The  amount  of 
restoration  can  be  readily  detected  by  the  absence 
of  patina  on  the  outside  surface  of  the  new 
glass. 

The  seventh  window,  to  the  right  of  the  East 
window  on  the  south  side,  is  much  restored;  the 
subject  is  the  legend  of  St  Nicolas  in  twenty-nine 
panels  inscribed  St  $td)0laU£L 

The  eighth  window  has  the  legend  of  the  steward 
Theophilus  who  sold  his  soul  to  the  Evil  One  and 
was  rescued  by  the  Blessed  Virgin.  The  twenty- 
eight  medallions  are  very  fine  and  almost  untouched. 
The  window  swarms  with  demons,  of  which  there 
are  at  least  sixteen.  The  name  Cljeopljtlus  is  in- 
scribed in  seven  places. 

The  ninth,  perhaps  the  finest  of  all,  is  almost  un- 


232 


STORIED  WINDOWS 


touched.  The  twenty-eight  panels  contain  the  Life 
of  Christ. 

The  last  of  these  thirteenth-century  windows  is 
nearly  all  restored.  It  contains  the  Death  and 
Coronation  of  the  Virgin.  The  border  is  of  fleurs- 
de-lis  on  blue. 

Of  the  four  sixteenth-century  windows  at  St 
Julien  de  Sault,  the  first  on  the  north  has  ten 
pictures  of  the  legend  of  St  Julian  the  soldier  of 
Diocletian.  In  the  third  picture  on  the  left  is  the 
town  of  Vienne.  The  picture  with  J ulian’s  arrest  is 
inscribed  qutefe  in  VXZ  gaffe  btxt — “ Be  at  rest  about 
me,  I have  lived  enough.”  On  the  right  is  St 
Julian.  On  the  left  is  the  tomb  of  St  Ferreol, 
with  the  head  of  the  child  Julian  in  the  centre 
of  the  saint’s  body.  In  the  top  on  the  right  is  a 
man  holding  a plan  of  the  church.  This  window 
is  in  excellent  condition,  but  it  is  overcrowded  with 
figures  and  dimmed  by  a quantity  of  pinkish  enamel 
smudged  on  to  the  white  glass.  The  tracery  above 
the  window  of  St  Julian  contains  thirteenth-century 
glass  round  a sixteenth-century  medallion  of  St 
Julian  riding  with  a hawk.  The  thirteenth-century 
medallion  on  the  right  has  a man  with  a severed 
head,  inscribed  St  Paultig,  East  of  this  window 
is  a very  pretty  little  window  remarkable  for  the 
splendid  costumes  of  the  sixteenth  century.  It  con- 
tains the  story  of  St  Genevieve  as  a quick-tempered 
child  attending  on  her  blind  mother,  and  then 
saving  Paris  from  Attila,  the  King  of  the  Huns, 
called  the  “Scourge  of  God.” 

On  the  south  side  is  a sixteenth-century  window 


ST  JULIEN  DU  SAULT 


233 


of  which  the  centre  is  now  filled  with  white  glass. 
But  it  is  remembered  that  the  window  was  complete 
thirty  years  ago ; the  centre  has  now  been  lost  or 
stolen,  probably  when  the  window  was  sent  to  be 
restored.  The  upper  part  contains  four  scenes  of 
the  martyrdom  of  S.S.  Agnes,  Cecilia,  Lucy,  and 
Agatha.  At  the  bottom  is  St  Fiacre,  who  holds  a 
spade  as  the  patron  of  gardeners,  and  a female  saint 
whose  name  is  difficult  to  decipher. 

The  fourth  and  last  of  these  sixteenth-century 
windows  is  extremely  beautiful  and  interesting. 
There  are  six  scenes  in  the  upper  part.  The 
three  uppermost  are  the  Descent  from  the  Cross, 
the  Burial  of  Christ,  and  His  Resurrection.  The 
three  scenes  in  the  centre  of  the  window  represent 
the  martyrdom  of  St  Peter  and  St  Paul  and  the 
dream  of  St  Charlemagne,  who  has  dismounted  and 
is  spearing  a wild  boar.  The  three  beautiful  scenes 
at  the  bottom  have  evidently  been  removed  from 
some  other  window  and  introduced  here,  as  they 
have  not  the  border  of  the  upper  part  of  the 
window.  They  look  like  late  work  of  the  fifteenth 
century.  They  represent  the  Invention  of  the  Cross 
by  Queen  Helena  who  is  attended  by  four  richly- 
attired  ladies,  each  carrying  an  instrument  of  the 
Crucifixion,  the  Crown  of  Thorns,  the  Hammer,  the 
Lance  and  Sponge,  and  the  Pincers.  The  Cross  is 
borne  by  an  old  woman.  Above  is  the  shield  of 
France  with  three  fleurs-de-lis  in  gold  on  an 
azure  ground,  showing  that  the  window  was  given 
by  a king,  like  the  window  at  Grand  Andely.  On 
each  side  of  the  shield  is  an  angel  with  a band 


234 


STORIED  WINDOWS 


inscribed  in  Gothic  letters  Surgtte  tnortut  ah 
jtthtctum,  i.e “arise  ye  dead  for  judgment.”  In 
the  centre  of  the  tracery  is  Jesus  as  Judge.  To 
the  left  is  an  angel  carrying  a pillar  as  an  emblem 
of  the  Scourging,  and  on  the  right  an  angel  has  the 
Cross  and  three  nails. 


235 


CHAPTER  XXX. 

AUXERRE. 

Auxerre  is  twenty  miles  distant  from  St  Julien 
du  Sault.  The  cathedral  of  Auxerre  ranks  with 
the  cathedrals  of  Chartres,  Le  Mans,  Bourges, 
Angers,  Troyes,  and  Reims  as  one  of  the  greatest 
shrines  of  Gothic  Glass.  It  contains  thirty-seven 
windows  of  the  first  half  of  the  thirteenth  century 
from  1220  to  1234,  when  the  choir  was  completed; 
these  windows  are  not  quite  completely  filled  with 
ancient  glass,  the  deficiency  being  made  up  with 
white  glass.  The  medallions  are  a good  deal  mixed, 
and  the  lower  half  of  each  of  the  twelve  windows 
in  the  choir  clerestory  was  damaged  by  the  Hugue- 
nots in  1567,  and  has  been  restored  with  modern 
glass.  Twenty-two  of  these  thirteenth-century 
windows  are  in  the  ambulatory  and  Lady  Chapel. 
There  are  twelve  at  the  sides  of  the  choir  clere- 
story, and  three  at  the  east  end  of  it. 

The  East  window  of  the  Lady  Chapel  was  de- 
stroyed by  a shell  in  the  Franco-Prussian  war, 
and  replaced  by  new  glass  forty  years  ago.  With 
the  exception  of  this  window,  the  magnificent  glass 


236 


STORIED  WINDOWS 


in  the  ambulatory  seems  almost  entirely  old,  with 
very  little  restoration.  It  is  much  to  be  regretted 
that,  as  at  Canterbury  and  Bourges,  the  eye  of  one 
looking  towards  the  East  end  should  rest  on  new 
glass ; it  would  be  much  better  if  one  of  the 
ambulatory  windows  could  take  the  place  of  the 
new  window  in  the  Lady  Chapel  of  Auxerre. 

The  first  two  windows  on  the  north  side  of  the 
ambulatory  are  fragmentary,  with  mixed  medallions. 
The  third  has  a complete  history  of  David.  The 
fourth  has  a legend  of  St  Mammes  of  the  time  of 
Aurelian,  beginning  at  the  bottom  with  his  birth 
and  education,  and  ending  at  the  top  with  his 
martyrdom.  The  fifth  has  thirteen  medallions  of 
the  Creation,  beginning  at  the  top  with  the  sun, 
moon,  and  stars,  then  angels : the  Holy  Dove  over 
the  waters : birds  and  fishes : animals : Adam : 
Eve : Adam  naming  the  animals : God  forbids 
Adam  and  Eve  to  eat  the  fruit : Adam  and  Eve 
and  the  serpent : Adam  and  Eve  hide  from  God  : 
Eve  holds  Cain  and  Abel,  while  Adam  tills  the 
soil.  The  three  lowest  medallions  are  from  other 
windows. 

The  sixth  window  contains  the  story  of  Noah 
in  the  six  lowest  medallions,  with  that  of  Abraham 
and  Lot  in  the  ten  upper  ones. 

The  seventh  window  contains  the  story  of 
Joseph.  The  three  lowest  medallions  begin  on 
the  left,  but  the  next  three  read  from  right  to 
left,  and  so  they  alternate  throughout  the  window, 
in  the  style  called  boustrophedon,  i.e .,  like  the 
turnings  of  a ploughing  ox. 


AUXERRE  CATHEDRAL 


237 


The  eighth  window  is  also  arranged  in  boustro- 
phedon  style.  The  subject  is  the  legend  of  Sainte 
Marguerite,  like  that  of  the  window  at  St  Julien 
du  Sault. 

The  ninth  window  is  complete  but  somewhat 
obscure ; it  contains  the  legend  of  St  Andrew, 
with  two  medallions  of  St  Paul  at  the  bottom. 

The  tenth  window  of  the  choir  ambulatory  of 
Auxerre  has  the  story  of  Samson  in  the  fifteen 
upper  medallions,  with  nine  mixed  medallions  at 
the  bottom. 

The  eleventh  window  has  the  legend  of  St 
Laurence,  with  six  mixed  medallions  at  the 
base. 

In  the  Lady  Chapel  at  the  East  are  seven 
windows.  The  first  has  beautiful  grisaille  of 
the  thirteenth  century  with  Sta*  JHatta  an(l  the 
donor  ^enrtCUS  Presbtter  in  the  centre. 

The  second  has  lovely  grisaille  of  the  thirteenth 
century. 

The  third  window,  to  the  left  of  the  East 
window,  has  a tree  of  Jesse  of  which  only  seven 
panels  contain  old  glass.  The  East  window  is  all 
modern.  To  the  right  of  this  on  the  south  is  a 
restored  window  of  which  the  subject  is  the  legend 
of  Theophile,  but  four  of  the  lowest  pictures  are 
modern. 

The  sixth  window  of  the  Lady  Chapel  of 
Auxerre  contains  grisaille  of  the  thirteenth  century. 
The  seventh  has  grisaille  of  the  same  date,  with 
a fine  figure  of  St  StepfyaiUUSu  Viollet  - le  - Due 
describes  the  grisaille  in  the  four  side  windows 


238 


STORIED  WINDOWS 


of  the  Lady  Chapel  as  a masterpiece  of  com- 
position. 

The  first  window  south  of  the  Lady  Chapel  has 
the  legend  of  St  Eustache  in  the  upper  part. 
Below  are  mixed  medallions  of  Old  Testament 
history. 

The  second  on  the  south  is  an  obscure  window 
of  St  Nicolas  of  beautiful  colour.  The  lower  part 
is  filled  with  white  glass. 

The  third  on  the  south  is  an  equally  obscure 
window  of  splendid  colour  with  the  story  of  the 
Prodigal  Son. 

The  fourth  on  the  south  was  removed  by  Bishop 
Amyot  in  1585  to  give  light  to  the  high  altar. 
It  is  filled  with  white  glass  on  which  Amyot  has 
placed  a crucifix  with  his  patron,  St  James. 

In  the  fifth  on  the  south  is  the  story  of  St 
James  in  the  sixteen  upper  medallions;  in  the 
nine  lower  ones  are  mixed  scenes,  all  of  fine 
colour. 

In  the  sixth  window  on  the  south  side  of  the 
ambulatory  of  the  cathedral  of  Auxerre  is  the 
legend  of  St  Nicolas  in  fifteen  panels,  with  nine 
below,  mostly  of  St  Eloi.  The  colour  of  this 
window  is  very  striking  in  the  morning  light,  and 
the  pictures  are  very  clear. 

The  bottom  part  of  the  last  four  windows  is 
filled  with  white  glass. 

In  the  seventh  window  on  the  south  is  the 
legend  of  St  Marie  l’Egyptienne  in  ten  upper 
medallions. 

The  eighth  on  the  south  is  a mixed  window  of 


AUXERRE  CATHEDRAL 


239 


fine  colour ; the  upper  thirteen  medallions  have 
the  story  of  St  JHaghaltene* 

The  ninth  window  contains  mixed  medallions. 
The  tenth  is  an  obscure  window  of  good  colour, 
with  the  legend  of  St  Caterina* 

In  the  choir  clerestory  each  pair  of  lancets  has 
a rose  above.  These  windows  were  given  by 
Henri  de  Villeneuve,  who  was  Bishop  of  Auxerre 
from  1220  to  1234.  In  each  lancet  is  a great 
single  figure,  with  vertical  grisaille  on  each  side, 
except  in  the  two  first  on  each  side  on  entering. 
The  first  of  these  on  the  north  has  Jesus  between 
the  Virgin  and  St  John^  with  two  angels  carrying 
the  sun  and  moon,  with  the  Holy  Spirit  at  the 
top.  Below  is  the  sacrifice  of  Abraham.  The  one 
facing  this  on  the  south  has  no  grisaille,  but  the 
figures  are  in  a large  oval  medallion  with  much 
fine  blue.  The  faces  of  these  figures  are  very 
archaic ; and  the  colour,  though  soft,  is  rather  dull, 
unless  the  sun  shines  through.  The  lower  part 
of  nearly  every  lancet  in  the  choir  clerestory  of 
Auxerre  Cathedral  contains  mostly  new  glass, 
owing  to  Huguenot  destruction  in  1567.  The 
tenth  figure  on  the  north  has  a fine  original  head 
of  Moses  with  golden  horns.  The  twelfth, 
thirteenth,  and  fourteenth  figures  of  Daniel,  St 
Germain,  and  St  Stephen  are  fine  and  mostly 
original.  In  the  rose  above  these  two  are  eight 
persons  representing  the  Vices,  and  eight  repre- 
senting Virtues.  The  two  central  East  windows 
and  the  two  next  to  them  on  the  south  have 
much  glaring  new  glass  but  fine  old  heads.  All 


240 


STORIED  WINDOWS 


the  grisaille  is  very  beautiful.  The  central  East 
rose  of  the  choir  clerestory,  next  to  the  Vices 
and  Virtues,  contains  the  Lamb  and  the  animals  of 
the  four  Evangelists.  South  of  this  on  the  right 
is  a rose  with  eight  personages  representing  the 
Liberal  Arts. 

In  the  south  transept  the  first  window  on  the 
east  side  is  of  splendid  colour  and  well  restored. 
It  has  figures  of  St  John  the  Baptist  and  St 
John  the  Evangelist,  with  fine  canopies  of  the 
early  fourteenth  century.  Next  to  this  is  a 
charming  fourteenth-century  window  with  the 
Annunciation. 

The  beautiful  golden  rose  of  the  south  transept 
of  Auxerre  Cathedral  is  dated  1550.  It  contains 
the  Eternal  Father  surrounded  by  the  Heavenly 
Powers.  Below  the  south  Rose  is  a fine  golden 
window,  with  eight  pictures  of  the  history  of 
Moses,  which  has  been  beautifully  restored.  The 
arms  are  those  of  the  donor,  the  younger  Francois 
de  Dinteville. 

The  western  Rose  was  given  about  1550  by  the 
younger  Frangois  de  Dinteville,  who  was  Bishop 
of  Auxerre  from  1530  to  1552.  He  succeeded  the 
elder  Frangois  de  Dinteville,  the  Bishop  of  Aux- 
erre from  1513  to  1530,  whose  portrait  is  in  the 
window  east  of  the  north  door  at  Montmorency. 
The  colour  of  the  western  Rose  is  very  bright.  In 
the  centre  is  God  the  Father  surrounded  by  ten 
red  Seraphim  with  golden  fires.  Outside  of  these 
are  twenty  Angels  playing  instruments  of  music, 
and  round  them  are  twenty  Apostles  and  Angels 


AUXERRE  CATHEDRAL 


241 


alternately.  Above  the  rose  is  the  Holy  Trinity 
with  a cross  with  four  fleurs-de-lis  at  each  end. 
The  great  window  below  the  rose  was  given  in  1573 
by  eight  canons,  whose  patrons,  S.S.  James,  Chris- 
topher, Charlemagne,  Sebastian,  Nicolas,  Claude, 
Eugbne,  and  one  unknown,  are  represented  in  the 
eight  lights. 

In  the  north  transept  to  the  left  on  entering  is  a 
Jesse  tree  of  the  sixteenth  century,  incomplete  but 
with  large  handsome  figures.  In  the  great  north 
Rose  is  represented  the  Immaculate  Conception  of 
the  Blessed  Virgin,  who  is  in  the  centre  surrounded 
by  her  emblems.  Above  is  the  Holy  Trinity. 
Beneath  the  rose  is  a splendid  window  of  the 
sixteenth  century  in  great  need  of  restoration. 
It  contains  ten  scenes  of  the  history  of  Joseph. 
The  picture  of  Joseph  and  Potiphar’s  wife  is  fine 
but  rather  too  realistic.  On  the  right  side  of 
the  north  transept  is  a dull  window  of  St  John 
the  Baptist  of  1570.  The  other  window  is 
modern. 

In  the  nave  of  the  clerestory  of  the  cathedral 
of  Auxerre,  the  first  window  on  the  north  begin- 
ning from  the  west  is  a transitional  window  of 
the  beginning  of  the  sixteenth  century  with 
cusped  arch.  It  contains  four  large  figures  of 
saints  of  rather  dull  colour.  The  second  has  a 
Bishop  and  St  Louis,  of  the  sixteenth  century. 
The  third  has  St  Stephen  and  another  Saint,  and 
the  Virgin  crowned,  and  the  Holy  Trinity,  with 
four  fine  canopies  of  the  fifteenth  century. 

Q 


242 


STORIED  WINDOWS 


The  fourth  is  a fifteenth-century  window  with 
St  Paul. 

The  fifth  has  four  figures  in  a bad  state. 

On  the  south  side  of  the  nave  beginning  from  the 
south  transept,  the  first  is  a beautiful  window  of 
the  fifteenth  century,  with  St  Charlemagne  holding 
a sword  and  an  orb,  St  Catherine,  St  Louis  holding 
a sceptre,  and  St  James. 

The  second  is  a fifteenth-century  window  with 
St  Peter  holding  the  key. 

The  third  has  four  female  figures  with  canopies 
surmounted  by  oriflammes,  each  charged  with  a 
golden  horse-shoe. 

The  fourth  is  the  famous  allegorical  window 
of  the  Vessel  of  God  assailed  by  a crowd  of 
demons ; St  Stephen  with  a stone  on  his  brow 
stands  on  the  poop,  and  several  persons  are 
trying  to  climb  on  board  with  a ladder,  and 
others  are  running  away.  This  is  a beautiful 
window  of  the  sixteenth  century. 

In  the  fifth  window  on  the  south  side  the 
Virgin  Mary  intercedes  with  her  crucified  Son. 
In  three  fine  roses  above  is  the  heavenly  concert. 
All  this  window  is  of  the  sixteenth  century.  In 
the  chapel  of  the  south  aisle  of  the  nave  next 
to  the  organ  are  four  fine  canopies  apparently 
of  late  fourteenth  century. 

The  whole  cathedral  of  Auxerre  is  beautifully 
light,  and  the  view  is  not  interrupted  by  non- 
structural  ornament.  The  lovely  Lady  Chapel 
is  supported  by  pillars  so  astonishingly  light  and 
slender  that  they  look  as  if  they  must  give  way, 


AUXERRE  CATHEDRAL 


243 


yet  it  has  stood  for  seven  centuries,  for  it  was 
built  in  1215.  The  marvellous  south  portal  with 
its  superb  sculptures  dates  from  the  beginning  of 
the  fourteenth  century. 

Eighty  miles  from  Auxerre  is  Nevers,  where 
the  traveller  is  within  easy  reach  of  Moulins  or 
Bourges. 


244 


CHAPTER  XXXI. 

ST  FLORENTIN  AND  ERVY. 

St  Florentin  is  twelve  miles  from  Auxerre  on  the 
way  to  Troyes,  and  it  is  distant  about  six  miles  from 
Pontigny.  The  interesting  Renaissance  church  con- 
tains twenty-three  fine  windows  of  early  sixteenth 
century,  of  which  twelve  are  in  the  east  end  and  in 
the  ambulatory  and  the  rest  high  up  in  the  clerestory 
of  the  choir.  Most  of  the  windows  contain  instru- 
ments of  the  guilds  who  gave  them,  and  donors 
with  their  children  and  patron  saints.  They  are 
all  of  strong  colour  and  in  good  condition,  for 
Napoleon  III.  had  them  restored  in  1863.  The 
ambulatory  windows  are  so  low  down  that  they 
can  easily  be  examined  and  appreciated. 

The  first  window  beyond  the  transept  on  the 
north  side  of  the  ambulatory  of  the  choir  contains 
the  legend  of  St  Julian,  who  was  told  by  a stag  that 
he  would  kill  his  father  and  mother,  which  he  un- 
consciously did,  and  expiated  his  deed  as  a ferryman. 
The  window  is  dated  1532. 

The  next  window,  dated  1529,  contains  ten 
scenes  from  the  Apocalypse,  with  God  at  the  top 
in  a Pope’s  tiara.  This  is  very  fine  in  conception 


ST  FLORENTIN 


245 


and  colour.  Beginning  from  the  top  the  scenes  are 
taken  from  the  Book  of  Revelations,  chap,  i.,  x.,  xii., 
xii.,  vi.,  ix.,  viii.,  xvii.,  vi.,  vii. 

The  third,  dated  1529,  has  the  life  of  St  John  the 
Baptist.  It  is  very  clear  and  finely  drawn.  The 
six  scenes  begin  with  the  appearance  of  the  angel 
to  Zachariah  and  end  with  the  baptism  of  Jesus 
Christ. 

The  fourth,  at  the  end  of  the  north  aisle,  contains 
the  death  of  St  John  the  Baptist  in  six  scenes.  In 
the  tracery  is  a butcher’s  knife  and  hatchet,  showing 
that  the  Guild  of  Butchers  gave  this  window,  which 
is  dated  1529. 

The  fifth  window  is  the  first  of  the  five  windows 
of  the  apse.  It  is  dated  1528.  It  contains  thirteen 
very  clear  pictures  of  the  legend  of  St  Nicolas,  each 
illustrated  by  an  explanatory  quatrain.  The  legend 
of  St  Nicolas  is  so  often  found  in  French  windows 
that  it  is  worth  while  to  transcribe  these  verses, 
which  give  the  legend  as  it  stood  in  the  sixteenth 
century.  With  these  may  be  compared  the  scenes 
in  the  window  of  St  Nicolas,  in  the  south  transept 
of  Sens,  the  last  of  which  is  not  included  in  this 
window  at  St  Florentin,  which  has,  however,  the 
additional  incidents  narrated  in  the  6th,  7th,  10th, 
11th,  12th,  and  13th  stanzas. 

1.  Birth  of  St  Nicolas,  who  stood  upright  in  his 
bath. 

Saint  Nicolas,  a sa  naissance, 

Au  bassin  se  leva  tout  droit, 

Montrant  Dieu  que  puissance 
Au  temps  futur,  il  obtiendroit. 


246 


STORIED  WINDOWS 


2.  St  Nicolas  gives  money  to  a sick  man  of  noble 
birth  for  his  three  daughters. 

Trois  filles  avait  un  gentilhomme ; 

Mais  malade  estait  faible  et  las ; 

D’argent  lui  donna  grosse  somme, 

Le  glorieux  saint  Nicolas. 

3.  The  father  troubles  St  Nicolas  with  thanks. 

Le  pere,  a deux  genoux,  remercie 
St  Nicolas  de  son  aumone 
Lequel,  bien  marri,  le  prie 
De  n’en  parler  a personne. 

4.  St  Nicolas  at  Myra  is  found  praying  in  the 
church. 

A Myre,  cite  tres  exquise, 

Apr&s  diverses  elections 
De  prelats,  il  fut,  en  l’eglise, 

Trouvd  en  d&vote  oraison. 

5.  He  is  consecrated  Bishop  of  Myra. 

Puis,  sacre  fust,  en  union, 

Evesque,  en  grosse  r^v^rence  ; 

Oil  Dieu  servit,  sans  fiction, 

En  faisant  fruit  de  penitence. 

6.  He  overthrows  an  idolatrous  tree  of  Diana. 

Le  bon  et  gracieux  pasteur, 

Amateur  de  la  foy  chrestienne, 

Fit  couper  l’arbre  de  hauteur, 

Oil  £tait  adoree  Diane. 

7.  He  procures  corn  from  shipmen  of  Alexandria 
to  relieve  his  fellow-citizens,  without  their  cargo 
growing  less. 

Saint  Nicolas,  par  bon  moyen, 

Des  bl^s  de  ceux  d’Alexandrie. 

En  substanta  ses  concitoyens, 

Sans  leur  mesure  etre  amoindrie. 


ST  FLOBENTIN 


247 

8.  St  Nicolas  saves  the  lives  of  three  noblemen 
who  were  going  to  be  unjustly  beheaded. 

Trois  gentilshommes,  injustement 
Estoient  prets  a decapiter 
Quand  saint  Nicolas  hardiment 
Yint  au  bourreau  l’espee  oter. 

9.  St  Nicolas  saves  sailors  from  shipwreck. 

Mariniers,  en  une  galee  ( i.e .,  galley) 

P^rissoient  par  force  d’orage ; 

Par  saint  Nicolas  est  allee 
Au  port  sans  avoir  dommage. 

10.  The  Devil,  disguised  as  a Nun,  gives  false  oil 
to  the  pilgrims  to  burn  the  Saint’s  church. 

Le  diable,  par  un  faux  stile, 

En  forme  de  nonnain  se  fit, 

Donna  a pelerins  fausse  huile 
Pour  bruler  l’eglise  du  saint. 


11.  A Christian  gets  money  unfairly  from  a Jew, 
and  hides  it  with  perjury  in  a stick. 

Ung  chrestien  d’un  Juif  emporta 
Argent  pris  cavilleusement; 

Dedans  un  baston  le  bouta, 

Soy  parjurant  en  serment : 

12.  God  causes  the  Christian  to  lose  the  money 
in  the  stick,  and  he  is  killed  by  a cart. 

S’en  retournant  a sa  maison, 

Dieu,  qui  voit  tout,  lui  fit  perdre 
I/argent  qu’il  avait  en  baston. 

Lui  occis  par  une  charrette. 


248 


STORIED  WINDOWS 


13.  The  Miracle  of  the  child  with  a golden  cup, 
who  was  drowned,  and  resuscitated  by  St  Nicolas. 

En  mer,  se  noya  ling  enfant 
Tenant  une  coupe  doree 
Par  saint  Nicolas  triomphant 
Lui  fut  la  vie  restauree. 

In  the  lowest  panels  are  the  donor  with  his  son 
and  grandson,  and  his  wife  with  three  daughters 
and  six  granddaughters. 

The  window  of  the  apse  to  the  left  of  the  East 
window,  dated  1527,  contains  the  legend  of  St 
Florentin,  the  converted  pagan  martyred  by  King 
Crocus,  who  became  blind  and  was  converted,  in 
fifteen  pictures  with  illustrative  quatrains,  and 
donors  below.  In  the  closing  scenes  two  countesses 
visit  the  chateau  of  St  Florentin,  and  bring  the 
saint  s skull  and  bone : a dead  child  is  revived  by 
these  relics : the  church  of  St  Florentin  is  dedi- 
cated by  the  Archbishop  of  Sens.  In  the  tracery 
is  St  Florentin  as  an  armed  horseman,  with  his 
companions  St  Aphrodite  to  the  left  and  St  Hilaire 
on  the  right.  The  East  window  contains  the  legend 
of  St  Martin  of  Tours  with  illustrative  verses,  dated 
1528.  In  the  twelve  pictures,  he  is  born,  educated, 
becomes  a soldier,  gives  half  of  his  cloak  to  a poor 
man  at  the  gate  of  Amiens : Jesus  appears  wearing 
the  half  cloak : Martin  is  baptised  by  St  Hilaire : 
a demon  appears  to  him  : he  converts  one  of  three 
brigands : he  is  consecrated  Archbishop  of  Tours  : 
he  builds  the  Monastery  of  Moustier  : he  is  expelled 
from  Milan  by  Arians ; he  miraculously  clears  the 
land  of  Vipers.  At  the  summit  of  the  tracery  is 


ST  FLORENTIN 


249 


the  death  of  St  Martin.  In  three  of  the  pictures 
are  three  donors  being  presented  by  St  Louis, 
St  Francis,  and  St  Hilaire.  Below  this  window 
is  some  wonderful  Renaissance  sculpture  in  bas- 
relief  of  the  Resurrection  and  Passion,  dated  1548, 
which  is  classed  as  a Monument  Historique  like  the 
Pieta  opposite  to  it  of  the  fifteenth  century. 

The  window  to  the  right,  south  of  the  East  win- 
dow, is  dated  1525.  It  contains  seventeen  very 
remarkable  pictures  of  the  Creation,  resembling  the 
well-known  Creation  window  in  Sainte  Madeleine 
at  Troyes,  and  greatly  excelling  the  Creation  win- 
dow at  Chalons.  The  scenes  in  this  window  com- 
mence at  the  top  on  the  left.  In  the  first  three  are 
the  Creator,  in  a Pope’s  golden  tiara,  looking  at 
Chaos : the  Creator  and  the  light : the  Creator  and 
the  Sun,  Moon,  and  Stars.  The  next  three  below 
these  represent  the  separation  of  Earth  and  Water : 
the  creation  of  trees : and  of  animals.  The  next 
three  are  the  creation  of  Adam : and  of  Eve  : and 
God  forbids  them  to  eat  the  fruit.  In  the  next 
three,  the  serpent  tempts  Eve  : God  rebukes  Adam 
and  Eve  : the  Angel  drives  them  from  Paradise  (this 
scene  is  not  in  the  window  at  Ste  Madeleine  in 
Troyes).  In  the  last  four  scenes  Adam  builds  a 
shelter : Abel’s  sacrifice  is  accepted : Cain  kills 
Abel : Cain  and  his  descendants  become  wanderers. 
Below  is  the  donor  with  three  sons,  and  his  wife 
with  three  daughters.  This  is  a very  clear  window 
of  fine  colour.  It  is  interesting  to  compare  the 
French  Creation  window's  with  those  in  Malvern 
Priory  and  St  Neot,  Cornwall. 


250 


STOEIED  WINDOWS 


Next  to  the  Creation  window  is  a window  con- 
taining a picture  of  the  Immaculate  Conception, 
with  much  bright  red  and  gold,  dated  1525.  The 
Virgin  is  surrounded  by  emblems,  with  quotations 
from  the  Song  of  Solomon,  Ecclesiastes,  and  Ezekiel. 
This  symbolical  representation  of  the  Immaculate 
Conception,  with  fifteen  emblems,  is  not  found 
before  the  end  of  the  fifteenth  century.  The  same 
subject  is  depicted  in  a window  in  St  Alpin’s 
Church  at  Chalons.  The  window  with  a Jesse  tree 
at  the  end  of  the  south  aisle  is  mostly  hidden. 

Next  to  this  on  the  south  side  is  a window,  dated 
1524,  containing  the  Nativity,  the  Assumption  of 
the  Virgin,  and  the  Adoration  of  the  Magi. 

West  of  this  on  the  south  side  is  a modern 
window,  and  beyond  this  is  a fine  window  in 
grisaille  and  yellow,  with  nine  pictures  in  three 
rows,  of  which  the  subjects  are : the  marriage  of 
the  Virgin  and  Joseph : the  Annunciation : the 
Visitation : the  Nativity : Joseph’s  dream : the 
Flight  into  Egypt : Jesus  at  Nazareth : Jesus 
amid  the  Doctors  : the  death  of  Joseph. 

In  the  choir  clerestory  of  St  Florentin  are  eleven 
splendid  windows  of  the  sixteenth  century.  The 
first  on  the  north  side,  entering  from  the  west, 
is  dated  1575,  and  contains  the  Last  Supper. 

The  second,  of  1550,  has  the  kiss  of  Judas,  and 
Peter  striking  Malchus. 

The  third,  of  1548,  contains  the  Scourging  and 
the  Crown  of  Thorns. 

In  the  fourth  is  Christ  leaving  the  Prsetorium ; 
Ecce  Homo. 


ST  FLORENTIN 


251 


The  fifth  represents  the  carrying  of  the  Cross. 

Ihe  East  window  has  a beautiful  picture  of  the 
Crucifixion,  with  the  arms  of  Gui  de  Laval,  who 
married  Claude  de  Foix  and  thus  became  Seigneur 
of  St  Florentin. 

On  the  south  side  of  the  clerestory  are  five  win- 
dows with  the  Burial : the  Resurrection : Christ 
appearing  to  the  Apostles,  and  the  incredulity  of 
St  Thomas : the  Ascension,  and  the  Descent  of  the 
Holy  Ghost : and  St  Peter  and  Ananias. 

In  the  north  transept  are  two  seventeenth-century 
windows  in  grisaille  with  yellow  stain,  dated  1683 
and  1684.  They  are  much  smudged  with  enamel 
paint.  In  the  north  aisle  the  first  window  is  dated 
1619.  It  contains  a few  fine  heads,  but  it  is  much 
worn,  showing  how  the  windows  of  the  seventeenth 
century  are  liable  to  perish. 

The  church  of  St  Florentin  is  noted  for  one  of 
the  few  stone  screens  at  the  entrance  of  the  choir, 
which  have  escaped  destruction  in  France.  The 
two  most  celebrated  screens  of  this  kind  are  in 
Ste  Madeleine,  Troyes,  and  at  Albi,  forty-five  miles 
north-east  of  Toulouse.  Others  are  found  in  Notre 
Dame  de  l’Epine,  near  Chalons,  and  in  Notre  Dame 
de  Brou  at  Bourg-en-Bresse,  also  in  St  Etienne 
du  Mont  at  Paris,  and  at  Arques,  near  Dieppe. 
The  French  name  for  this  Rood-screen  is  Jube , 
because,  from  the  Rood-loft  or  gallery  on  top,  the 
deacon,  before  the  Gospel  was  read,  used  to  chant 
the  words,  “ Jube  Domine  dicere.” 


252 


STORIED  WINDOWS 


ERVY. 

From  St  Florentin  to  Troyes  is  thirty-five  miles. 
On  the  way  lies  Ervy,  which  is  a small  town  pic- 
turesquely situated  on  a hill  above  the  railway. 
In  the  church  there  are  twelve  windows ; eight 
of  these  are  in  a poor  state,  but  the  other  four  are 
very  original  and  remarkable  windows  of  the  early 
part  of  the  sixteenth  century.  They  are  of  bright 
colour,  and  are  well  worth  visiting  between  two 
trains.  Three  of  these  are  in  the  south  aisle.  The 
third  window  from  the  west  is  dated  1515.  It  is 
the  famous  window  of  the  Sibyls,  of  which  there 
are  twelve  instead  of  the  usual  ten.  In  it  are 
twelve  scenes  of  the  life  of  Christ,  each  with  the 
Sibyl  who  prophesied  the  event,  with  her  name 
inscribed.  At  the  foot  is  the  Annunciation,  prophe- 
sied by  the  Helepontina  Sibyl,  and  Christ  in  the 
Manger  (Samia).  Above  this  the  Virgin  is  tram- 
pling on  a demon  (Persica)  between  the  new-born 
Child  (Cumana)  and  the  Child  suckling  (Cyemeria). 
Next  is  the  Flight  into  Egypt  (Europa),  and  Christ 
the  Light  of  the  World  (Libia).  In  the  centre  of 
the  light  is  the  Virgin  and  Child  in  a splendid 
golden  aureole,  with  Isaiah  and  a Sibyl.  To  the 
right  is  the  Crown  of  Thorns  (Delphia).  Above 
this  is  the  Scourging  (Agrippa),  and  Jesus  blind- 
folded and  buffeted  (Erithere)  ; and  lastly,  the 
Crucifixion  (Tiburtine),  and  the  Resurrection 
(Frigea,  i.e.,  Phrygia).  In  the  tracery  is  the 
Last  Judgment  with  the  first  three  lines  of  Dies 


ERVV. 

Triumphs  of  Petrarch.  1502. 


ERVY 


253 


Irse,  but  no  Hell.  At  the  foot  on  right  and  left 
are  two  large  panels  of  donors.  These  graphic  and 
well-coloured  pictures  are  pleasantly  drawn. 

In  the  beautiful  window  east  of  the  window  of 
the  Sibyls,  dated  1515,  are  twelve  very  vivid 
pictures  of  the  martyrdom  of  St  Christine  of 
Bolsena  (the  ancient  \ ulsinii)  in  Tuscany,  with 
an  inscription  under  each  panel.  In  the  first 
Christine  steals  an  idol ; she  is  brought  before 
her  pagan  father  Urban,  an  officer  of  Diocletian ; 
she  is  beaten  by  his  orders.  In  the  fourth  picture 
Christine  is  imprisoned  with  snakes,  but  delivered 
by  Jesus  Christ.  In  the  next  four  scenes  Christine 
is  tied  to  a pillar  and  scourged,  and  her  feet  are 
cut : she  is  tied  to  a razored  wheel,  and  made  to 
drink  boiling  oil  by  a man  inspired  by  a red  demon  : 
she  is  sent  back  to  prison : she  is  thrown  with  a 
stone  into  the  Lake  of  Bolsena.  In  the  last  four 
panels  Christ  baptises  Christine  with  the  water  of 
the  Volsinian  mere  : she  meets  her  father  and  a 
huge  purple  demon : she  is  placed  in  a heated 
chaldron,  and  her  scalp  is  pulled  off,  and  brain 
torn  out  with  pincers ; but  in  the  following  panel 
she  appears  in  a sort  of  round  oven  filled  with 
roses.  The  scenes  are  continued  in  the  tracery 
till,  at  the  summit  of  all,  her  soul  is  received 
by  God. 

Next  to  this,  on  the  south  wall  of  the  aisle  of  the 
church  at  Ervy,  is  the  celebrated  window,  dated 
1502,  of  five  lights,  of  which  three  in  the  centre 
contain  the  six  Triumphs  of  Petrarch  in  two  rows. 
In  the  lower  row  are  Love,  Chastity,  and  Death ; 


254 


STORIED  WINDOWS 


and  above  these  are  Renown,  Eternity,  and  Time. 
Eternity  occupies  the  central  panel  with  Abraham, 
Isaac,  and  Jacob  (“not  the  dead,  but  the  living”), 
and  the  idea  is  continued  in  the  tracery  by  the 
Trinity  of  God,  the  Lamb,  and  the  Dove,  with 
the  Virgin  and  St  John  the  Baptist,  and  St  John 
the  Evangelist,  having  a purified  human  soul 
crowned  between  them, — altogether  a very  remark- 
able series  of  pictures  of  vivid  imagination.  At  the 
foot  is  a brilliant  picture  of  the  Virgin  and  Child 
between  two  donors.  In  the  outer  left  light  is  a 
grisaille  picture  of  Joseph  and  Potiphars  wife. 

On  the  north  side  of  the  choir  is  a large  Renais- 
sance window  of  about  1570.  The  centre  of  this 
exhibits  the  Fall  of  Man  and  his  Redemption  in  a 
way  which  is  unusual  if  not  unique.  Christ  is 
represented  as  Crucified  on  the  Tree  of  Knowledge, 
at  the  top  of  which  are  green  leaves  and  apples ; 
on  one  side  is  Eve  holding  a Janus-like  head  with  a 
face  of  Death  at  the  back  and  a live  face  in  front. 
Facing  her  is  Adam  on  the  other  side  of  the 
tree.  Below  are  donors,  and  at  the  base  is  a 
very  curious  Bacchanalian  bas-relief  in  grisaille. 
In  the  left  light  is  Job,  and  in  the  right-hand 
light  is  Tobias.  Above  these  are  two  large 
circles  with  donors'  arms,  supported  by  two  griffins 
and  two  geese. 

In  the  choir  clerestory  is  a poor  grisaille  window, 
dated  1588.  Fortunately  the  church  of  Ervy  has 
been  scheduled  as  a Monument  Historique,  so  that 
these  interesting  windows  are  in  the  charge  of  the 
Beaux- Arts,  and  are  certain  to  be  kept  in  good  repair. 


255 


CHAPTER  XXXII. 

TROYES  CATHEDRAL. 

Troyes  is  a paradise  of  the  glass-hunter ; no  other 
town  in  England  or  France,  except  York  and 
Rouen,  can  vie  with  it  in  respect  of  the  number  of 
its  churches  and  the  amount  and  variety  of  the  old 
glass  concentrated  in  them.  For  the  quantity  of 
fine  windows,  both  genuine  and  ancient,  at  Troyes 
is  so  great  as  to  be  almost  bewildering ; so  that 
it  seems  difficult  to  decide  where  to  begin.  It 
seems  natural  to  start  with  the  cathedral  of  St 
Peter  and  St  Paul,  though  it  is  hard  to  pass 
St  Urbain  on  the  way  to  the  Cathedral  without 
stopping  to  examine  it. 

The  choir  of  Troyes  Cathedral  was  built  in  the 
early  part  of  the  thirteenth  century,  more  than  two 
hundred  years  before  the  nave,  which  was  not  built 
till  the  latter  half  of  the  fifteenth  century.  The 
glass  shows  the  same  difference  in  date,  for  the 
eastern  glass  all  belongs  to  the  thirteenth  century 
or  the  beginning  of  the  fourteenth,  while  the  glass 
in  the  clerestory  of  the  nave  is  all  of  about  the 
date  of  1500.  This  clerestory  glass  in  the  nave  is 
of  the  same  splendid  colouring  as  the  glass  in  the 


256 


STORIED  WINDOWS 


south  transept  at  Sens,  being  done  by  the  same 
artists  about  the  same  time.  The  Cathedral  seems 
to  the  visitor  to  be  full  to  overflowing  with  rich 
colour,  because  the  triforium  is  as  completely  filled 
with  coloured  glass  pictures  as  the  rest  of  the 
building,  though  the  glass  in  the  triforium  of  the 
Choir  is  all  modern  with  the  exception  of  a very 
few  figures. 

The  magnificent  clerestory  of  the  Choir  contains 
eight  noble  windows  of  the  thirteenth  century,  four 
on  each  side,  and  five  of  the  beginning  of  the  four- 
teenth century  at  the  east  end.  The  four  large 
windows  on  the  north  side  are  of  three  lights  each, 
surmounted  by  three  roses,  each  containing  a large 
circular  medallion.  The  lights  are  narrowed  by  the 
border  which  encircles  three  figures  (or  pairs  of 
figures)  in  each  light,  one  above  the  other,  separated 
by  half  medallions  containing  floral  scrolls.  The 
first  to  the  north  on  entering  the  choir  contains 
the  history  of  St  Helena,  with  Adam  and  Eve  at 
the  top.  It  has  an  unusual  amount  of  white  in  the 
border  and  in  three  of  the  figures ; one  figure  has  a 
brilliant  yellow  robe. 

The  second  window,  containing  the  legend  of  St 
Savinien,  has  several  figures  partially  dressed  in 
white. 

The  third  window  contains  gorgeous  single 
figures,  including  Henry  I.,  Emperor  of  Con- 
stantinople, Pope  Innocent  III.,  Bishop  Hervee 
(who  built  the  choir),  Pierre  de  Corbeil,  Archbishop 
of  Sens,  and  King  Philip  Augustus  ; three  of  these 
figures  are  robed  in  yellow. 


257 


CATHEDRAL 


OF  TROYES 


The  fourth,  with  the  legend  of  St  Nicolas,  con- 
tains much  fine  blue.  Each  of  these  four  windows 
has  a different  border. 

The  five  windows  at  the  east  end  are  of  two 
lights  each,  broader  than  the  others,  with  one  rose 
with  a circular  medallion. 

The  first  window  at  the  east  end  of  the  choir 
clerestory  of  Troyes  Cathedral  has  six  large  oval 
medallions  with  blue  borders,  with  figure  subjects 
of  the  Nativity,  the  Magi,  and  the  Massacre  of  the 
Innocents. 

The  second  is  a bright  window  with  six  oblong 
panels  of  very  clear  figure  subjects  of  the  Death  and 
Assumption  of  the  Virgin. 

The  East  window  is  brilliant,  but  apparently 
much  restored ; the  subjects  in  it  are  the  Passion 
and  the  Crucifixion. 

The  first  window  south  of  this  contains  the  story 
of  St  John  the  Evangelist ; it  is  a fine  window  with 
large  figures  and  a good  deal  of  white,  making  a 
good  pair  with  the  corresponding  window  to  the 
north  of  the  East  window. 

The  second  to  the  south  of  the  East  window  has 
the  story  of  St  Peter  and  St  Paul  in  six  oval  medal- 
lions, with  much  blue  in  the  border ; also  making  a 
good  pair  with  the  window  opposite. 

Next  to  this,  on  the  south,  is  the  first  of  the  four 
on  the  right  side  of  the  choir  clerestory.  This  has 
three  large  single  figures  of  Martyrs  in  each  of  the 
four  lights. 

The  second  on  the  south  side  has  the  story  of  the 

R 


258 


STORIED  WINDOWS 


Wise  and  Foolish  Virgins,  with  a wonderful  purple 
demon  at  the  foot  of  one  light.  Two  of  the  robes 
are  white  and  two  are  yellow,  and  there  is  much 
white  in  the  borders.  The  third  contains  the  trans- 
lation of  Relics  from  Constantinople.  The  broad 
borders  are  blue,  and  the  figures  are  very  dark. 

The  fourth  is  a bright  window  with  several  white 
robes  ; it  seems  to  have  been  given  by  Blanche  of 
Castille,  the  mother  of  St  Louis,  for  it  has  a border 
of  golden  fleurs-de-lis  and  castles  on  a blue  ground. 
In  the  middle  of  the  left  light  is  a huge  fiend.  The 
subjects  are  the  legend  of  Theophile  very  graphic- 
ally depicted,  and  Adam  and  Eve  before  the  Tree 
of  Knowledge.  The  whole  effect  of  the  thirteen 
windows  of  the  choir  clerestory  of  Troyes  Cathedral 
is  very  bright  and  clear,  but  they  are  much  lighter 
than  the  clerestory  windows  of  Chartres.  The  choir 
looks  like  a pavilion  all  of  glass,  with  only  sufficient 
stone  to  hold  it  together  and  frame  the  glass. 

There  are  fifteen  windows  with  thirteenth-cen- 
tury glass  in  the  ambulatory  of  Troyes  Cathedral, 
all  restored.  Of  these,  seven  are  in  the  north  side 
of  the  ambulatory,  five  in  the  Lady  Chapel,  and 
three  in  the  first  chapel  on  the  south.  The 
amount  of  new  glass  makes  these  of  less  interest 
than  most  windows  of  the  thirteenth  century. 
Besides  these,  there  is  in  the  first  chapel  of  the 
north  ambulatory  the  only  round-arched  window 
in  the  Cathedral,  as  this  is  the  part  built  first  in 
1220.  This  window  contains  a fine  broad  border, 
nearly  as  wide  as  the  centre,  which  is  filled  with 
white  glass.  The  first  coloured  window  in  the 


CATHEDRAL  OF  TROYES 


259 


north  ambulatory  contains  a remarkably  beautiful 
Byzantine-looking  Jesse  tree,  which  has  been  well 
restored ; the  figure  of  David  in  this  window  is 
illustrated  in  Westlake,  i.  p.  79.  There  are  also 
very  fine  windows  in  grisaille  of  the  thirteenth 
century  in  the  ambulatory. 

The  clerestory  of  the  nave  has  five  large  windows 
on  each  side  of  six  lights,  filled  with  splendid  glass 
of  the  beginning  of  the  sixteenth  century  (1498- 
1501)  of  most  brilliant  colour.  Of  those  to  the 
north  on  the  left  side,  the  first  from  the  west  has 
the  story  of  the  true  Cross,  by  Verrat.  In  the 
triforium  are  Haman,  Mordecai,  and  Esther,  and 
the  carrying  of  the  Cross. 

The  second  has  the  legend  of  St  Sebastian,  by 
Lyenin,  which  is  continued  in  the  triforium. 

The  third  contains  the  story  of  Job.  This  fine 
window  deserves  special  examination.  The  same 
subject  is  found  in  St  Patrice,  Rouen.  In  the 
triforium  are  the  Nativity  and  the  Magi. 

The  fourth  has  the  history  of  Tobias,  which  is 
continued  in  the  triforium. 

The  fifth  has  the  history  of  St  Peter.  In  the 
triforium  are  St  Antony,  St  Louis,  St  Gond,  and 
St  Catherine. 

Of  the  five  windows  on  the  south  side  of  the  nave 
clerestory  of  Troyes  Cathedral,  the  first  has  the 
story  of  Daniel,  which  is  continued  in  the  triforium. 

The  second  has  the  story  of  Joseph,  which  is 
continued  in  the  triforium. 

The  third  contains  the  Prodigal  Son.  In  the  tri- 
forium are  the  Annunciation  and  the  three  Maries. 


260 


STORIED  WINDOWS 


The  fourth  has  a Jesse  tree,  by  Lyenin,  and  the 
donor  and  his  family  at  the  base.  This  window  is 
strangely  assigned  by  Merson  to  the  beginning  of 
the  fourteenth  century.  In  the  triforium  are 
Isaiah,  Moses,  Gideon,  Jeremiah,  St  Guillaume, 
and  St  John  the  Baptist  as  patron  of  the  donor. 
Day  gives  illustrations  of  the  Prodigal  Son  in 
‘Windows,’  1st  edition,  p.  194,  and  of  Tobit,  p. 
196,  and  of  the  Jesse  tree,  p.  366. 

The  fifth,  by  Verrat  and  Godon,  contains  St  John 
the  Baptist  as  patron  saint  of  two  donors,  and  St 
Stephen,  St  Helena,  St  Matthias,  St  James,  St 
Loup,  St  Savinien,  the  Virgin,  St  Peter,  St  Paul, 
and  St  Nizier.  This  window  is  wrongly  attributed 
by  Merson,  ‘ Les  Vitraux,’  p.  126,  to  the  fourteenth 
century ; but  in  Troyes  the  beautiful  Jesse  tree  is 
said  to  be  by  Lyenin  in  1499,  and  the  twelve  saints 
by  Verrat  and  Godon  in  1498.  Day,  p.  366,  also 
regards  this  Jesse  tree  as  of  the  later  date.  In  the 
triforium  is  the  Crucifixion. 

The  beautiful  Western  Rose  of  1546  contains  God 
the  Father  in  the  centre  surrounded  by  Angels, 
Patriarchs,  Apostles,  and  Martyrs;  much  of  the 
colour  is  of  a fine  golden  hue. 

In  the  north  aisle  of  the  nave  of  Troyes 
Cathedral  are  three  coloured  windows,  beginning 
in  the  third  chapel  from  the  west.  Of  these  the 
first  contains  Apostles,  but  most  of  the  glass  is  new. 
The  second  is  the  famous  window  by  Linard  Gontier 
known  as  the  Pressoir , i.e.,  the  wine-press;  it  is 
dated  1625  in  two  places.  It  represents  our  Saviour 
being  crushed  in  a wine-press,  and  His  blood  flow- 


TROVES  CATHEDRAL. 

Linard  Gontier.  Late  Renaissance.  1625. 


The  Pressoir  (Wine-press),  by 


CATHEDRAL  OF  TROYES 


261 


ing  into  a chalice.  The  figure  of  the  Saviour  is  in 
light  reddish-brown  enamel  paint ; from  His  breast 
springs  a vine  in  whose  branches  are  seated  twelve 
beautiful  demi-figures  of  Apostles.  At  the  base  are 
two  fine  portraits  of  donors,  a Canon  on  the  left 
with  St  John  the  Baptist,  and  a Knight  of  Malta 
at  the  right  with  St  Francis  of  Assisi.  The  back- 
ground is  white,  which  suggests  the  thought  that 
the  picture  would  have  stood  out  still  better  from 
a ground  of  light  blue  or  some  other  colour.  The 
inscription  2Torcular  calcafat  solus  is  taken  from 
Isaiah  lxiii.  3,  “ I have  trodden  the  wine  - press 
alone,”  a most  inapposite  quotation,  for  our  Saviour 
is  distinctly  not  “ treading”  the  wine-press  in  which 
He  is  being  crushed. 

The  third  window  in  the  north  aisle  has  six 
pictures  in  three  lights  under  canopies  of  a dis- 
agreeable orange-yellow  colour.  This  window  is 
assigned  to  the  fourteenth  century,  but  it  seems 
almost  entirely  restored. 

The  first  window  from  the  west  in  the  south  aisle 
contains  the  Virgin  amid  a choir  of  Angels,  and 
above  is  God  the  Father  and  a choir  of  Angels. 
In  this  window  may  be  noticed  a remarkable  feat 
of  the  glazier.  The  golden  stars  have  been  leaded 
into  holes  cut  out  of  the  blue  glass  without  break- 
ing it,  a very  difficult  operation  to  do  before  the 
diamond  was  used.  The  French  term  this  repique 
en  chef-d'oeuvre,  or  “ transplanted  as  a masterpiece 
because  any  apprentice  who  could  do  this  was 
accepted  as  a master  craftsman.  Opposite  to  this 
in  the  clerestory  is  a window  by  Verrat,  in  which 


262 


STORIED  WINDOWS 


not  one  of  the  holes  has  been  successfully  made 
without  breaking  the  glass,  as  the  lead  shows.  In 
the  church  of  St  Nizier  are  more  than  a hundred 
instances  of  successful  repiquage  en  chef-d'oeuvre. 
In  the  Musee  de  Sculpture  in  the  Trocad^ro  in  Paris 
there  are  specimens  in  Nos.  100  and  101  from  Autun. 

The  second  window  has  only  coloured  tracery. 

The  third  is  a window  of  the  fourteenth  century. 
In  it  are  eight  saints  with  orange-yellow  canopies. 
The  elaborate  tracery  is  full  of  colour. 

The  fourth  is  a similar  window  of  the  fourteenth 
century,  restored  ; it  contains  the  story  of  St  Joachim 
and  St  Anne  with  brilliant  coloured  tracery. 

The  fifth,  also  of  the  fourteenth  century,  contains 
St  James,  St  Peter,  and  St  John  the  Evangelist  with 
fine  coloured  tracery. 

The  rose  of  the  north  transept  of  Troyes 
Cathedral  is  mostly  white.  On  the  west  side  of 
the  transept  is  a window  with  St  Catherine.  On 
the  east  wall  of  the  north  transept  are  two 
sixteenth -century  windows  with  large  figures  of 
Apostles,  Prophets,  and  Saints.  The  inner  one  has 
golden  Renaissance  frames. 

In  the  south  transept  the  first  window  on  the 
right  contains  four  large  figures  of  Saints  Peter, 
Claude,  Paul,  and  John,  and  two  donors.  The 
second  window,  dated  1534,  has  St  Ambrose,  St 
Jerome,  St  Gregory,  and  Hennequin,  Bishop  of 
Troyes. 

On  the  west  wall  of  the  south  transept  are  two 
windows  with  St  John  the  Evangelist  and  St  Michael. 

The  south  rose  contains  terribly  new  glass. 


ST  UR  BAIN,  TROYES. 

Jesi’s  Washing  the  Apostles’  Feet.  XIIIth  Centirv. 


263 


CHAPTER  XXXIII. 

ST  URBAIN,  TROYES. 

The  church  of  St  Urbain  is  the  most  beautiful  small 
Gothic  church  that  ever  was  built.  Like  the  great 

O 

buildings  of  Chartres  and  St  Ouen  at  Rouen,  and 
the  lovely  Gothic  choir  of  Auxerre  Cathedral,  it 
owes  a great  deal  of  its  beauty  to  the  extremely 
short  time  occupied  in  building  it.  It  was  com- 
menced in  1262,  and  the  choir  was  finished  in 
1266 ; the  building  was  interrupted  after  this,  and 
the  upper  part  of  the  nave  was  left  unfinished,  till  in 
recent  times  it  was  completed  owing  to  the  untiring 
exertions  and  well-directed  zeal  of  l’Abbe  0.  F.  Jossier, 
the  genial  and  accomplished  Cure  of  the  church,  whose 
excellent  and  fully  illustrated  monograph  on  the 
windows  of  his  beloved  church  contains  full  infor- 
mation on  all  points  connected  with  them. 

Pope  Urbain  IV.,  one  of  the  few  French  popes, 
was  the  son  of  a shoemaker  at  Troyes,  and  when 
he  became  Pope  in  1261  he  sent  a sum  equivalent 
to  about  £150,000  to  build  a church  of  Saint  Urbain 
where  his  father’s  house  stood  in  his  native  town. 
Being  on  very  friendly  terms  with  St  Louis,  he  had 


264 


STORIED  WINDOWS 


the  good  fortune  to  secure  the  services  of  the  whole 
body  of  craftsmen  who  had  just  finished  building 
the  Sainte  Chapelle  for  St  Louis  in  Paris,  which 
enabled  the  work  begun  in  1262  to  be  pushed  on 
very  rapidly.  On  his  death  in  1264  his  nephew. 
Cardinal  Ancher,  also  from  Troyes,  continued  the 
work  till  1266,  when  it  was  interfered  with  by  a 
neighbouring  nunnery,  which  caused  the  work  to 
be  entirely  stopped  when  Cardinal  Ancher  died  in 
1286,  never  to  be  renewed  till  1876.  Since  that 
time  about  £50,000  has  been  spent  in  completing 
the  building.  There  must  be  few  churches  of  so 
small  a size  which  have  cost  £200,000  to  build. 
But  the  money  has  been  well  spent  in  producing 
such  a unique  gem  of  Gothic  architecture.  Though 
the  size  of  the  church  is  quite  moderate,  yet  it 
seems  spacious  inside,  because  it  is  not  blocked  up 
anywhere  by  non-structural  ornament,  and  so  its 
beautiful  proportions  can  be  seen  at  the  first  glance, 
the  more  readily  as  it  is  extremely  well  lighted. 
Almost  all  the  old  glass  is  in  the  choir  and  apse 
chapels ; for  the  nave  has  been  completely  glazed 
since  the  restoration,  which  began  in  the  last 
quarter  of  the  nineteenth  century.  Most  of  the 
modern  windows  are  by  the  eminent  French  artist 
Edouard  Didron,  who  died  in  1902,  leaving  six 
windows  of  the  nave  to  be  done  by  his  successor 
J.  B.  Anglade. 

The  most  striking  glass  in  St  Urbain  is  the  great 
series  of  Patriarchs  and  Prophets  which  stand,  one 
in  each  light,  all  round  the  clerestory  of  the  choir, 
with  the  exception  of  a modern  Crucifixion  in  the 


TROYES:  ST  URBAIN 


265 


East  window.  All  these  fine  figures  with  archaic 
faces  are  of  the  transitional  period  of  the  end  of 
the  thirteenth  century  and  the  beginning  of  the 
fourteenth.  Each  figure  is  surmounted  by  a small 
architectural  structure  which  exhibits  the  com- 
mencement of  the  strongly  coloured  architectural 
canopy,  which  is  characteristic  of  the  fourteenth 
century. 

The  first  window  on  each  side  is  of  four  lights 
surmounted  by  two  trefoils  and  a quatrefoil  enclos- 
ing a medallion ; the  medallion  of  the  one  on  the 
north  contains  St  Margaret  and  the  dragon-fiend, 
and  in  the  medallion  opposite  to  this  on  the  south 
is  St  Andrew  martyred  on  his  cross.  The  other 
seven  windows  are  of  three  lights  with  three  quatre- 
foils  each  enclosing  a central  medallion.  The  lower 
half  of  each  of  these  windows  is  filled  with  grisaille 
of  the  end  of  the  thirteenth  century,  and  round 
each  light  runs  a narrow  coloured  border.  The  five 
windows  of  the  apse  have  particularly  fine  borders 
with  the  arms  of  Champagne  and  Navarre,  and  of 
France  and  the  Chapter  of  St  Urbain.  The  arms 
of  France,  as  they  were  blazoned  in  the  thirteenth 
century,  were  d’ctzur  seme  de  fleurs-de-lys  dor  sans 
nornbre , i.e.,  “azure  sown  with  countless  golden 
fleurs-de-lis” ; these  were  altered  in  1376  to  three 
fleurs-de-lis , in  honour  of  the  Holy  Trinity,  by 
Charles  Y.  The  later  shield  of  France  after  this 
alteration  can  be  seen  in  the  window  given  by 
Henri  Deux  at  Grand  Andely. 

The  first  windowr  on  the  north  side  of  the  apse 
clerestory  of  St  Urbain  with  the  Prophets 


266 


STORIED  WINDOWS 


Sggeus,  Sottas,  and  ©see,  and  the  second  with 
$toant,  Sam  (Shem),  and  gsate  merit  careful  ex- 
amination to  appreciate  the  masterly  design  of 
the  attitudes  and  drapery.  The  third  window 
in  the  clerestory  on  the  north  side  contains  a 
very  impressive  SakattaS  and  a 3Snuamht  wearing 
gauntlets  and  looking  like  a woman  (illustrated  in 
the  article  on  Stained  Glass  in  the  ‘ Encyclopaedia 
Britannica ’),  and  a second  <3moS,  In  the  fourth 
clerestory  window  Joel  and  Noe  are  original,  but 
Sbrafjant  is  in  modern  glass. 

In  the  central  East  window  of  the  choir  clerestory 
of  St  Urbain,  the  Christ  is  modern  and  the  Virgin 
is  mostly  restored,  but  St  John  is  almost  all  orig- 
inal. The  first  window  to  the  right  of  the  East 
window  on  the  south  side  of  the  apse  clerestory  has 
3Lehu  on  the  left,  and  in  the  centre  a despondent- 
looking  unhaloed  figure  of  Cfyant,  i.e .,  Ham,  the 
wicked  son  of  Noah,  a surprising  apparition  among 
the  holy  Prophets  and  Patriarchs.  The  figure  is 
in  deep  purple  with  a dark  yellow  bonnet  on  a 
blue  ground.  Day  illustrates  this  in  ‘ Windows/ 
1st  ed.,  p.  156.  The  figure  of  Samuel  to  the  right 
of  Cham  has  a grand  yellow  cloak.  The  second 
clerestory  window  on  the  south  has  another  lotiaS, 
and  itttcljeas  and  Sopfyontas.  The  third  to  the 
south  has  Semantics  (the  Baptist),  JJtcremtaS  and 
3t?abacuc*  The  fourth  and  last  contains  3l]elt)5fUj5, 
Eosep,  Shtltas,  and  Jftukam  (Reuben).  In  some  of 
these  windows  is  displayed  an  economy  of  design 
similar  to  that  in  St  Pierre,  Chartres,  and  St  Remi, 
Reims ; for  the  figure  of  the  first  Amos  reappears 


ST  URBAIN,  TROVES. 


The  Kiss  of  Judas. 


XIIIth  Century. 


TROYES:  ST  URBAIN 


267 


as  Shem,  and  the  figures  of  the  first  Jonas  and  of 
Adam  and  Levi  are  all  from  the  same  cartoon. 
M.  Jossier  gives  a most  careful  description  of  each 
figure  with  precise  details  as  to  the  exact  parts 
which  have  been  restored. 

Below  the  five  eastern  windows  are  five  more, 
separated  only  by  their  owTn  tracery  from  those 
above ; a most  unusual  arrangement,  for  they  do 
not  form  a triforium.  This  lower  range  is  entirely 
filled  with  beautiful  glass  of  late  thirteenth  cen- 
tury, with  the  exception  of  the  medallion  of  the 
Resurrection  in  the  fourth  window,  which  is  in 
modern  glass  by  Didron.  In  each  window  there 
are  three  medallions  of  the  Life  of  Christ,  begin- 
ning in  the  first  window  on  the  north  with  three 
most  beautiful  medallions,  first  of  Jesus  in  the 
Temple  (illustrated  by  Viollet-le-Duc  in  ‘Diction- 
naire  d’ Architecture,’  vol.  ix.  p.  432) ; second,  Jesus 
entering  Jerusalem;  and  third,  Jesus  washing  St 
Peter’s  feet.  In  this  third  medallion  is  Judas  with 
a halo  weighing  a purse  in  his  left  hand  and  feel- 
ing money  in  his  right.  The  cross  usual  in  Christ’s 
halo  is  blue  in  the  first  medallion  and  white  in  the 
other  two.  Viollet-le-Duc,  p.  431,  says  of  these 
three  medallions : “ They  are  executed  with  rare 
perfection.  They  are  miniatures  in  glass.”  The 
second  lower  window  contains  the  Kiss  of  Judas  : 
Christ  before  Pilate  (whose  staff  is  artlessly  tipped 
with  a fleur-de-lis , like  the  Cross  above  the  western 
rose  at  Auxerre) : and  the  carrying  of  the  Cross. 

The  third  lower  window  at  the  east  end  of  the 
choir  of  St  Urbain  contains  the  Scourging,  the 


268 


STORIED  WINDOWS 


Crucifixion  (where  the  head  and  body  are  by 
Didron),  and  the  Descent  from  the  Cross  (where 
the  heads  of  Christ,  St  John,  and  Nicodemus  are 
by  Didron). 

The  fourth  has  the  Resurrection ; Christ  appear- 
ing to  Mary  Magdalene  (not  holding  the  usual 
spade,  but  a Cross) ; and  Mary  Magdalene  in  the 
house  of  Simon  the  Pharisee  wiping  our  Saviour’s 
feet  with  her  hair.  The  grisaille  of  this  window 
is  admirable,  but  most  of  the  grisaille  in  St  Urbain 
deserves  special  attention. 

The  fifth  and  last  of  the  lower  windows  has 
Christ  visiting  the  Spirits  in  Prison : Christ  ap- 
pearing to  the  Apostles  after  the  Resurrection : 
and  the  Ascension,  where  only  the  feet  of  the 
ascended  Lord  are  visible,  as  in  the  Renaissance 
window  in  the  clerestory  on  the  south  side  of  the 
nave  of  St  Etienne -du- Mont,  near  the  Pantheon 
in  Paris. 

In  the  Lady  Chapel  of  St  Urbain  are  four  win- 
dows containing  the  closing  scenes  of  the  Blessed 
Virgin’s  life,  in  modern  glass,  by  Didron.  In  the 
third  and  fourth  of  these  windows  there  are  a 
number  of  circles  in  the  quatrefoils  containing 
little  heads  beautifully  drawn  of  monks,  emperors, 
peasants,  women,  children,  and  animals.  More 
than  half  of  these  106  heads  are  of  the  thirteenth 
century.  Forty-two  are  illustrated  in  M.  Jossier’s 
monograph. 

The  other  chapel  at  the  east  end  of  St  Urbain  is 
called  the  Chapelle  de  Saint  Joseph;  it  contains 
four  windows,  each  with  two  medallions,  making 


TROYES:  ST  URBA1N 


269 


eight  in  all,  three  of  which  are  of  genuine  thir- 
teenth-century glass,  and  the  other  five  are  by 
Didron.  In  the  first  window  the  medallion  of  the 
Annunciation  is  entirely  composed  of  the  original 
glass ; in  the  second  window  is  the  original 
medallion  of  the  Visitation ; and  in  the  fourth 
window  the  medallion  of  the  Massacre  of  the 
Innocents  is  ancient. 

The  third  window  is  now  filled  with  Didron’s 
glass,  but  the  two  finest  medallions  belonging  to 
it  were  photographed  in  1876,  when  the  glass  was 
sent  away  for  restoration ; after  the  glass  came 
back,  it  was  discovered  by  comparing  the  photo- 
graphs that  these  two  medallions  had  been  stolen. 
But  the  indefatigable  Cure,  M.  Jossier,  sent  photo- 
graphs of  the  missing  medallions  all  over  France, 
and  luckily  discovered  them  in  the  possession  of 
a private  collector,  and  it  is  believed  that  the 
present  owner  has  the  generous  intention  of  re- 
storing them  to  the  church. 

In  the  north  transept  the  right-hand  window  on 
the  east  side  contains  grisaille  of  the  thirteenth 
century.  The  two  north  windows  have  ancient 
thirteenth-century  glass  in  the  tracery,  where  there 
are  three  medallions  of  St  Martin  of  Tours,  and 
three  of  the  martyrdom  of  St  Stephen.  The  west 
window  on  the  left  of  the  north  transept  has  in 
one  light  Christ  on  the  Cross,  of  fine  work  of  the 
sixteenth  century;  the  other  lights  contain  glass 
by  Didron.  The  two  small  windows  over  the  north 
door  contain  old  glass. 

In  the  south  transept  the  window  on  the  east 


270  STORIED  WINDOWS 

side  also  contains  grisaille  of  the  thirteenth  cen- 
tury ; and  the  two  small  windows  over  the  south 
door  likewise  contain  old  glass.  In  the  tracery  of 
the  large  left-hand  window  in  the  south  wall  of  the 
transept  are  three  medallions  of  the  thirteenth 
century.  In  the  right-hand  one  is  St  Eloi  as  a 
goldsmith  pointing  red-hot  pincers  at  a demon  who 
has  the  face  of  a young  woman.  The  left-hand 
medallion  has  St  Germain  (head  restored)  blessing 
Sainte  Genevieve  and  her  parents.  In  the  upper 
medallion  Sainte  Genevieve  as  a shepherdess  with 
sheep  is  imploring  Attila,  the  King  of  the  Huns,  to 
spare  the  city  of  Paris,  as  in  the  sixteenth-century 
window  at  St  Julien  du  Sault. 

At  the  west  end  of  the  nave  aisles  are  two 
windows,  at  the  top  of  each  of  which  is  beautiful 
glass  of  the  end  of  the  fifteenth  century. 

On  the  wall  of  the  north  aisle  of  the  nave  the 
second  window  from  the  west  has  fine  golden- 
coloured  stain  at  the  top,  and  figures  of  the  early 
sixteenth  century. 

SAINTE  MADELEINE  AT  TROYES. 

Some  of  the  finest  glass  of  the  sixteenth  century 
is  to  be  found  in  the  church  of  Sainte  Madeleine,  in 
five  windows  at  the  east  end.  There  are  also  two 
beautiful  windows  of  the  latter  half  of  the  fifteenth 
century.  The  church  is  also  famous  for  its  wonderful 
Jube  or  Rood-screen  of  lace-like  stonework,  which 
rivals  the  one  in  the  cathedral  at  Albi.  The  first 


SAINT K MADELEINE,  TROVES. 


Creation  Window.  XVIth  Century. 


TROYES:  SAINTE  MADELEINE 


271 


window  is  at  the  east  end  of  the  north  aisle ; it  is 
a window  of  1517,  representing  the  history  of  St 
Louis.  At  the  bottom  are  the  donor  and  his  wife, 
the  coronation  of  St  Louis,  and  the  ending  of  the 
regency  of  his  mother,  Blanche  of  Castille.  In  the 
next  three  pictures  above  are  the  submission  of  the 
Count  of  Champagne,  the  marriage  of  St  Louis,  St 
Louis  receiving  the  Crown  of  Thorns.  The  third  set 
contains  St  Louis  punishing  miscreants : his  Morti- 
fication : his  reception  of  the  poor  at  his  table.  In 
the  fourth  set  St  Louis  washes  the  feet  of  the  poor  : 
he  visits  the  plague-stricken : he  is  present  at  the 
Council  of  Lyons.  In  the  tracery  are  St  Yves  : St 
Louis  ransoming  prisoners : burying  the  plague- 
stricken  : and  founding  the  Quinze-Vingts. 

The  window  to  the  left  of  the  East  window 
contains  the  celebrated  pictures  of  the  Creation, 
much  resembling  the  window  at  St  Florentin ; but 
this  one  begins  from  the  lowest  left-hand  corner, 
with  the  Creator  in  a Papal  tiara  creating  light 
out  of  chaos  in  the  first  four  panels.  The  next 
four  above  these  have  the  creation  of  animals : 
birds  : Adam  : Eve.  The  third  four  have  the  birth 
of  Cain  and  Abel : the  Sacrifice  of  Cain  and  Abel : 
the  death  of  Abel : the  Deluge.  In  the  four  upper- 
most are  Abraham  and  Melchizedek  : the  sacrifice  of 
Isaac  : Joseph  bound  : the  Brazen  Serpent.  Above 
these  in  the  arches  of  each  light  are  the  Annunci- 
ation : Visitation  : Manger : and  Magi.  But  there 
is  no  picture  of  the  Expulsion  from  Paradise,  like 
the  one  in  the  window  at  St  Florentin. 

The  central  East  window  of  1506  contains  the 


272 


STORIED  WINDOWS 


history  of  St  Eloi,  the  patron  of  goldsmiths,  evid- 
ently given  by  the  Guild  of  Goldsmiths,  whose  arms 
are  at  the  foot.  Next  to  these  arms,  in  the  lowest 
pictures,  are  the  prediction  of  St  Eloi’s  birth  : his 
birth : he  is  a goldsmiths  apprentice.  In  the  next 
four  are  St  Eloi  reading  the  Bible  in  his  workshop : 
his  apprentice  setting  a ring : St  Eloi  is  relieving 
poor  travellers  : the  people  of  Noyon  are  offering  to 
St  Eloi  the  cross  and  mitre  (illustrated  p.  51).  In 
the  third  set  St  Eloi  and  St  Ouen  are  being  con- 
secrated as  Bishops  in  the  cathedral  of  Rouen : St 
Eloi  is  preaching:  St  Eloi  is  on  his  deathbed:  the 
Duchesse  de  Therouanne  is  watching  a bright  cross, 
i.e.,  the  soul  of  the  Saint  going  up  to  Heaven.  In 
the  fourth  set  St  Eloi  lies  on  his  tomb  in  priestly 
robes : the  poor  and  sick  are  at  his  tomb : the 
plague-stricken  Due  de  Therouanne  is  praying  at 
the  tomb : the  Duchesse  is  thanking  the  Saint  for 
her  husband’s  recovery  from  the  plague. 

To  the  right  of  the  East  window  in  the  church 
of  Sainte  Madeleine  at  Troyes  is  a fine  Jesse  tree. 

At  the  east  end  of  the  south  aisle  is  a beauti- 
ful fifteenth-century  window  of  about  1470.  The 
subject  is  the  Passion.  Next  to  this,  on  the 
south,  is  another  fine  window  of  the  fifteenth 
century,  of  about  the  same  date  or  a little  later, 
containing  the  story  of  Mary  Magdalene. 

The  next  window  contains  the  Triumph  of  the 
Cross,  of  the  sixteenth  century.  Beyond  this  is 
a window  containing  some  fragments  of  old  glass. 

These  windows  are  very  brilliant  in  colour  and 
clear  in  execution,  and  their  restoration  has  been 


TROYES:  ST  NIZIER 


273 


well  done.  They  are  so  low  down  that  it  is  easy 
to  appreciate  the  pictures,  while  the  magnificent 
colouring  speaks  for  itself.  They  are  among  the 
most  satisfactory  of  all  Renaissance  windows. 

The  East  window  of  the  choir  clerestory  has  a 
Crucifixion  in  grisaille  of  1532,  with  a light  blue 
ground  above,  in  which  are  white  angels  with 
ruby  wings  and  a red  demon  with  bat’s  wings. 
On  the  south  side  of  the  clerestory  next  to  the 
East  window  are  two  windows  of  fine  strong 
colour.  One  of  these,  of  1580,  represents  Ecce 
Homo.  The  other,  also  of  the  sixteenth  century, 
contains  the  Magi. 


SAINT  NIZIER  AT  TROYES. 

The  church  of  St  Nizier  was  entirely  rebuilt  in 
1528.  It  contains  numerous  windows  of  the  six- 
teenth century,  and  the  East  window  is  of  the 
beginning  of  the  seventeenth  century.  The  whole 
east  end  produces  a pleasant  impression  of  bright 
and  strongly  coloured  pictures. 

In  the  choir  clerestory  are  five  good  windows. 
The  first  on  the  north  contains  the  Ages  of  Man. 
The  second  has  Jesus  in  His  Mother’s  lap,  Sainte 
Barbe  and  the  Passion.  The  brilliantly  coloured 
East  window  of  1613  contains  the  Apostles  and  the 
Virgin  receiving  the  Holy  Ghost.  The  first  on  the 
south  has  St  Nizier : the  Annunciation  : and  the 
death  of  the  Virgin.  The  second  on  the  south 

s 


274 


STORIED  WINDOWS 


has  the  Descent  from  the  Cross  : the  Resurrection  : 
Christ  appearing  to  His  Mother  and  to  Mary 
Magdalene. 

In  the  ambulatory  chapels  are  six  windows  of 
bright  colour.  In  the  first  chapel  on  the  north 
are  two  windows  in  a very  imperfect  state.  In 
the  second  chapel  is  a Jesse  tree  and  a window 
with  Cardinal  Bonaventure,  which  were  smashed 
by  an  anarchist  in  1901. 

In  the  central  Eastern  chapel  are  three  windows 
with  the  legend  of  Sainte  Syre : the  Crucifixion : 
the  legend  of  Saint  Gilles. 

In  the  chapel  south  of  this  are  two  windows  with 
St  Sebastian  and  the  legend  of  the  Cross. 

In  the  south  transept  of  St  Nizier  is  a magnifi- 
cent window  of  about  1550,  containing  five  splendid 
figures  of  Religion  trampling  down  five  beasts  and 
birds  representing  Heresy.  In  the  tracery  is  the 
Holy  Trinity. 

The  East  window  of  the  south  transept  contains 
St  John  the  Baptist. 

In  the  chapel  next  to  the  south  transept  wall  is 
the  legend  of  Theophile. 

Above  the  south  door  is  a grisaille  of  1539  of  St 
Joachim  and  St  Anne. 

In  the  north  transept  the  west  window  contains 
the  life  of  the  Virgin,  and  the  east  window  has  the 
story  of  St  Nicolas. 

In  the  nave  clerestory  the  first  window  on  the 
north  has  the  Virgin  and  Saints.  The  second 
represents  the  Apocalypse.  The  third  has  the 
Seven  Sacraments  in  grisaille  of  1570.  On  the 


TROYES:  ST  MARTIN-feS-VIGNES  275 


south  side  is  a vigorous  Last  Judgment  of  1560, 
and  a Crucifixion  and  the  four  Maries. 


ST  MARTIN-ES-VIGNES  AT  TROYES. 

The  church  of  St  Martin-es-Vignes  was  built  in 
1590,  and  it  is  celebrated  for  its  beautiful  windows, 
some  of  which  are  by  Linard  Gontier,  one  of  the  last 
artists  of  Renaissance  glass,  who  made  admirable 
glass  pictures  even  in  the  early  part  of  the  seven- 
teenth century.  The  pictures  are  so  fine  and  clear 
that  they  tell  their  own  tale ; therefore  it  is  only 
necessary  to  draw  attention  to  a few  of  the  most 
remarkable. 

In  the  first  chapel  on  the  north  side  of  the  nave 
is  a fine  window  with  St  Claude,  Ste  Anne,  the 
Assumption,  and  St  John  the  Baptist,  by  Linard 
Gontier,  the  son. 

Next  to  this  is  the  taking  of  Jerusalem  by  Titus, 
of  1618. 

In  the  north  transept  on  the  west  is  Sainte 
Gudule,  of  1602,  and  on  the  east  is  the  fine  Trans- 
figuration by  Gontier. 

In  the  north  ambulatory  of  the  choir  is  a fine 
window  of  the  life  of  St  Jule. 

In  the  south  transept  is  a splendid  window  of  the 
Apocalypse,  of  1611. 

The  first  window  on  the  north  side  of  the  choir  to 
the  left  has  a life  of  St  Peter  by  Gontier.  Next  to 
this  is  a life  of  St  John  the  Baptist  by  the  same 
artist. 


276 


STORIED  WINDOWS 


The  finest  window  of  all  contains  the  story  of  Ste 
Anne,  in  the  chapel  of  Sainte  Anne  on  the  south 
side  of  the  choir  (see  Frontispiece).  It  is  dated 
1623  at  the  foot  of  the  stairs.  The  colour  is  so 
rich  as  to  recall  the  windows  of  a hundred  years 
earlier.  It  has  been  attributed  to  Linard  Gontier, 
but  this  is  disputed ; at  any  rate  it  is  the  work  of 
some  really  great  artist  and  colourist.  The  colour 
certainly  seems  finer  than  most  of  Gontier’s  work. 
Four  of  the  windows  in  St  Martin-es-Vignes  are 
illustrated,  pp.  81,  231,  234,  400  of  Day’s  ‘Windows/ 
1st  edition. 

In  several  other  churches  of  Troyes,  such  as  St 
Jean,  St  Nicolas,  St  Pantaleon,  there  is  also  some 
interesting  glass.  The  best  is  in  St  Jean,  the  church 
where  Henry  V.  of  England  in  1420  married  Charles 
VI.  s daughter  Katherine,  who  subsequently  married 
Owen  Tudor,  and  thus  became  the  grandmother  of 
Henry  VII.  Here  the  second  and  third  windows  in 
the  south  aisle  contain  a very  fine  life  of  St  John  the 
Baptist,  of  1536  (which,  however,  resembles  a picture 
in  reddish  sepia  rather  than  a window),  and  a cele- 
brated Judgment  of  Solomon,  which  may  be  com- 
pared with  Robert  Pinaigrier’s  excellent  window  of 
1531  in  St  Gervais,  Paris.  The  fine  window  by 
Gontier  at  the  centre  of  the  east  end  beyond  the 
choir,  containing  in  the  upper  part  a Last  Supper 
of  about  1630,  is  said  to  have  been  often  restored, 
which  shows  how  dangerous  it  is  to  trust  too  much 
to  enamel  paints  in  making  a window. 


277 


CHAPTER  XXXIV. 

THE  CATHEDRAL  OF  CHALONS-SUR-MARNE. 

Fifty-nine  miles  from  Troyes  is  Chalons-sur-Marne, 
where  there  is  the  fine  cathedral  of  St  Etienne  and 
two  interesting  churches  of  St  Alpin  and  Notre  Dame. 

Chalons  Cathedral  formerly  held  some  beautiful 
glass  of  the  twelfth  century,  but  this  is  now  in  the 
Musee  de  Sculpture  at  the  Trocadero  in  Paris,  wait- 
ing, it  is  said,  to  be  returned  to  the  Cathedral  when 
a window  can  be  prepared  to  receive  it.  The  only 
glass  of  the  twelfth  century  remaining  in  the 
Cathedral  is  to  be  found  in  the  triforium  on  the 
north  side  of  the  nave  near  the  north  transept. 
This  glass  consists  of  some  large  fragments  of 
broad  Romanesque  borders,  which  belonged  to  the 
old  church  which  was  consecrated  in  1147. 

In  the  clerestory  of  the  apse  at  the  east  end  of  the 
choir  are  three  bright  and  lovely  windows  of  silver 
and  sapphire  of  the  thirteenth  century,  but  the 
yellow  in  them  is  of  a light  greenish  hue  like  the 
colour  of  an  unripe  lemon.  In  the  tracery  of  the 
East  window  of  the  choir  is  Christ  the  Judge,  from 
whose  hands  blood  is  gushing  into  a chalice ; behind 


278 


STORIED  WINDOWS 


Him  are  the  Cross  and  nails,  the  lance,  and  the 
sponge ; on  each  side  is  an  angel  with  a trumpet, 
and  below  these  are  the  dead  rising  in  their  shrouds  ; 
the  one  on  the  left  is  coloured,  the  other  three  are 
ghastly  white.  In  the  right-hand  light  of  the 
window  is  Christ  enthroned ; below  this  in  the 
centre  of  the  light  is  the  Crucifixion  where  the 
Christ  is  all  in  purple  ; He  has  His  usual  crossed 
halo.  On  each  side  are  the  Sun  and  Moon,  and  by 
His  feet  stand  the  Virgin,  and  St  John  with  the 
customary  bare  feet  of  an  Apostle.  The  border  of 
this  is  narrowed  to  widen  the  panel.  In  the  lowest 
part  of  the  light  is  the  Virgin  and  Child  with  rather 
an  old  face.  In  the  left  light  are  the  three  patron 
saints  of  Chalons — St  Stephen,  St  Memmius,  the 
first  Bishop  of  Chalons,  and  St  Alpin  who  saved 
the  city  from  Attila,  King  of  the  Huns,  whose 
victorious  career  across  Europe  was  checked  by  the 
decisive  battle  which  was  fought  about  ten  miles 
from  Chalons,  a.d.  451. 

In  the  tracery  of  the  window  north  of  this  to  the 
left  are  the  glorified  Virgin  and  the  Adoration  of 
the  Magi.  In  the  right-hand  light  is  St  Paul  with 
St  (fHlaftuS  below  him,  and  one  of  the  four  Major 
Prophets  at  the  foot.  In  the  left  light  is  St 
Sofjattncs,  and  St  ©onatianus,  and  a Prophet 
whose  head  seems  new. 

The  window  to  the  right  on  the  south  side  of  the 
apse  clerestory  of  Chalons  Cathedral  has  in  the 
tracery  the  King  and  Queen  imploring  St  Memmius 
to  save  their  son,  who  is  hawking,  from  being 
drowned.  The  Bishop  is  in  white  and  somewhat 


CHALONS-SUR-MARNE  CATHEDRAL  279 


resembles  a corpse.  Below  this  in  the  right-hand 
light  is  St  Peter  (head  restored),  with  St  Bomttt- 
anus  in  an  architectural  frame  below,  and  a Prophet 
in  a similar  frame  at  the  base.  In  the  left  light  is 
St  Andrew  (head  restored),  and  below  him  a Bishop, 
St  Urutiomtrus,  and  beneath  him  a Prophet.  The 
six  borders  of  these  windows  are  all  different  and 
exceptionally  beautiful. 

The  first  window  in  the  north  aisle  of  the  nave, 
starting  from  the  west,  contains  thirteenth-century 
glass,  but  the  glass  of  the  tracery  and  of  the  upper 
band  of  women  in  it  is  modern.  The  centre  light 
has  a border  of  fleurs-de-lis , and  the  outer  lights 
have  a border  of  castles.  This  window  was  given 
by  the  Guild  of  Furriers;  at  the  base  in  one  panel 
the  furriers  are  at  work ; in  the  second  panel  two 
rich  tradesmen  are  represented  bargaining  with  a 
furrier;  and  in  the  fourth  panel  the  Dean  of  the 
Guild  is  presenting  the  window  to  the  crowned 
Virgin  and  the  Holy  Child ; in  the  third  panel 
is  a Crucifixion.  The  fact  that  the  window  is  a 
gift  of  the  furriers  shows  that  the  presence  of 
fleurs-de-lis  or  of  castles  in  the  border  does  not 
invariably  imply  that  the  window  was  given  by 
Blanche  of  Castille,  or  her  son  Saint  Louis. 

In  the  second  window  in  the  north  aisle  of  the 
nave  the  four  lowest  compartments  on  the  left 
contain  thirteenth-century  glass,  and  some  of  the 
grisaille  at  the  top  is  of  the  fourteenth  century. 
All  the  seven  other  north  aisle  windows  contain 
new  glass. 

In  the  south  aisle  of  the  nave  is  a remarkable 


280 


STORIED  WINDOWS 


series  of  nine  windows  of  strong  colour.  The  first 
from  the  west  is  the  Creation  window,  said  to  be  of 
1507,  which  is  the  worst  of  the  old  windows  in  the 
cathedral  of  Chalons,  being  very  inferior  to  the 
Creation  windows  at  St  Florentin  and  Sainte  Made- 
leine at  Troyes.  It  begins  at  the  top  with  the 
Creation  of  animals  and  fishes  by  a white-bearded 
Creator  with  a nimbus  or  halo.  The  last  scene  is 
the  murder  of  Abel.  The  figures  are  stiff  and  the 
faces  are  ugly,  and  Adam  and  Eve  are  obtrusively 
ashamed  of  their  undraped  state ; the  colour  is 
heavy,  and  there  is  a great  deal  more  enamel  paint 
than  might  be  expected  in  1507.  The  date  reads : 
le  xv  du  rnois  d’Apvril  mil  v cens  et  s , and  since  the 
last  word  is  unfinished,  the  date  of  1507  may  be 
incorrectly  assigned  to  the  window  ; perhaps  the 
“ s ” may  be  the  first  letter  of  soixante  or  sixty, 
making  the  date  1560.  All  the  scenes  have  ex- 
planatory Latin  inscriptions.  At  the  foot  are  two 
donors  with  their  patron  saints,  Michael  and 
Jacobus.  There  is  a similar  creation  window  in 
fine  fifteenth-century  glass  in  the  church  of 
Mareuil-le-Port. 

The  second  window  from  the  west  in  the  south 
aisle,  dated  Van  cinq  cent  et  neuf,  i.e .,  1509,  con- 
tains beautiful  and  vivid  pictures  of  fine  colour 
of  the  life  of  the  Virgin,  with  very  clear  inscrip- 
tions in  French.  The  nave  is  so  well  lighted  that 
these  pictures  can  be  easily  appreciated.  In  the 
tracery  is  God  the  Father  crowning  the  Virgin  in 
the  presence  of  Christ  and  the  Holy  Ghost.  The 
pictures  in  the  four  lights  begin  with  the  offering 


CHALONS-SUR-MARNE  CATHEDRAL  281 


of  Ste  Anne  and  St  Joachim  being  rejected  by  the 
priests  for  their  childlessness  (this  scene  is  in  two 
lights,  and  the  top  of  it  ignores  the  mullion) ; they 
embrace  at  the  door,  “ cy  est  leur  rencontre  a la 
porte  dor^e,”  i.e.,  here  is  their  meeting  at  the 
golden  door;  the  Virgin  Mary  is  born;  in  this 
scene  there  is  a curious  anticipation  of  the  future 
in  a medallion  attached  to  the  bed  upon  which 
Ste  Anne  lies,  in  which  there  is  a picture  of  the 
crowned  Virgin  with  the  Child  Jesus.  The  next 
stage  of  the  window  has  a fine  picture  in  two  lights 
of  the  presentation  of  the  Virgin  as  a child  with 
a halo ; near  the  temple  stairs  is  one  of  the  mer- 
chants who  bought  and  sold  in  the  Temple : he  has 
doves  in  a cage ; there  is  a similar  merchant  in  the 
story  of  the  Virgin  in  St  Alpin  at  Chalons,  but  the 
idea  of  introducing  a merchant  into  a presentation 
scene  seems  to  be  peculiar  to  Chalons.  The  other 
two  scenes  in  this  stage  are  the  marriage  of  the 
Virgin  and  Joseph  (who  bears  the  legendary  rod 
that  budded)  and  the  Annunciation.  The  three 
uppermost  scenes  are,  the  Nativity,  the  Presenta- 
tion of  Christ,  and  the  death  of  the  Virgin,  “com- 
MANT  LES  APOSTRES  SONT  PRESANS  AU  SAINCT  TRESPAS 

de  la  Vierge” — i.e.,  how  the  Apostles  were  present 
at  the  holy  death  of  the  Virgin.  This  scene  is  in 
two  lights.  This  magnificent  window  is  dated  1509 
above  the  scene  of  the  presentation  of  the  Virgin. 

The  third  window  in  the  south  aisle  of  Chalons 
Cathedral  contains  thirteen  scenes  of  the  Passion, 
beginning  with  Christ’s  entry  into  Jerusalem  and 
ending  with  the  Crucifixion  in  the  tracery.  These 


282 


STORIED  WINDOWS 


scenes  have  a remarkable  framework  of  interlacing 
branches.  In  this  window  of  the  sixteenth  century 
there  is  much  restoration,  and  the  Christ  is  far  from 
being  beautiful.  In  the  scene  representing  the 
Last  Supper  the  unhaloed  Judas  has  a purse  in  his 
hand,  as  he  has  in  the  medallion  of  Christ  washing 
Peters  feet  in  the  lower  window  of  the  choir  of 
St  Urbain  at  Troyes.  Between  the  two  quatrefoils 
of  the  tracery  is  a little  picture  of  Judas  hanging 
from  a tree. 

Half  of  the  fourth  window  has  a Transfiguration 
of  late  sixteenth  century  with  much  enamel  paint 
and  dull  colour,  the  other  half  of  it  with  the 
Resurrection  is  modern. 

The  fifth  window  has  Flemish-looking  faces  and 
rather  sombre  colour.  It  has  the  cusped  arch  of 
the  period  of  transition  from  Gothic  to  Renaissance 
at  the  beginning  of  the  sixteenth  century.  The 
subject  is  the  life  of  St  Stephen  in  six  scenes. 
In  this  window  the  three  double  panels  with  their 
architectural  framework  entirely  ignore  the  mullions. 

The  sixth  window  contains  very  fine  glass  of  the 
fifteenth  century,  with  much  more  colour  than  is 
usual  in  English  windows  of  the  same  period.  The 
large  canopies  have  no  pillars.  The  ruby  colour  is 
remarkably  fine.  The  ground  of  the  outer  lights  is 
full  of  jieurs-de-lis.  The  window  has  been  altered 
and  part  displaced,  for  the  upper  part  belongs  to 
the  end  of  the  fifteenth  century  and  is  in  its 
original  place.  The  figures  in  it,  beginning  from 
the  left,  are  Ste  Catherine,  the  Virgin  and  Child,  St 
Michael  and  a donor,  and  Ste  Barbe.  The  glass  in 
the  tracery  is  modern.  The  lower  half  belongs  to 


CHALONS-SUR-MARNE  CATHEDRAL  283 


the  beginning  of  the  fifteenth  century,  having  been 
removed  from  the  opposite  window  on  the  north 
side;  the  figures  in  it  are  St  Vincent,  St  James 
presenting  a donor  to  the  Virgin  and  Child,  and  St 
Stephen.  The  feet  in  the  lower  row  rest  upon 
pedestals,  but  the  pedestals  of  the  upper  row  were 
removed  to  make  room  when  the  lower  figures  were 
inserted.  This  very  beautiful  window  deserves  to 
be  carefully  examined. 

The  seventh  window,  of  the  sixteenth  century, 
contains  nine  scenes  of  the  early  life  of  Jesus,  with 
very  clear  inscriptions.  The  three  scenes  at  the 
base  are  modern. 

The  eighth  window  is  entirely  modern. 

The  ninth,  next  to  the  south  transept,  is  a very 
remarkable  window  of  the  earliest  part  of  the 
fourteenth  century.  It  is  one  of  the  most  interest- 
ing windows  in  the  cathedral  of  Chalons,  being  such 
a splendid  specimen  of  early  fourteenth-century 
work ; but  unfortunately  the  light  is  somewhat 
blocked  by  a mass  of  wood  near  the  window.  It 
looks  as  if  it  had  been  filled  from  a clerestory 
window  of  the  late  thirteenth  or  early  fourteenth 
century.  In  the  tracery  is  Christ  surrounded  by 
angels  ; below  this  in  the  topmost  scene  is  John  bap- 
tising Jesus,  and  St  Peter,  St  Paul,  St  Andrew,  and 
St  James,  whose  figure  closely  resembles  that  of 
Sanctug  3acohug  in  the  fourth  light  from  the 
left  in  the  triforium  below  the  rose  of  the  north 
transept ; this  suggests  the  probability  that  the 
pictures  in  this  window  and  in  the  north  rose  and 
triforium,  both  belonging  to  the  early  part  of  the 
fourteenth  century,  are  by  the  same  hand.  In  the 


284 


STORIED  WINDOWS 


second  row  are  the  other  eight  Apostles.  Below 
these  eight  Apostles  were  eight  Prophets.  These 
were  removed  from  the  bottom  of  the  window  by 
some  vandals  to  make  room  for  a new  sacristy,  and 
it  is  said  that  two  of  the  Prophets  thus  removed 
were  placed  in  the  west  wall  of  the  north  transept. 

In  the  north  transept  is  a splendid  rose  of  early 
fourteenth-century  work  containing  the  Triumph  of 
Jesus  Christ,  who  is  in  the  centre  with  the  four 
creatures  of  Revelations  iv.  7,  representing  the  four 
Evangelists,  the  Lion  of  St  Mark,  the  Calf  of  St 
Luke,  the  Eagle  of  St  John,  and  the  Angel  with  “ a 
face  as  of  a Man”  of  St  Matthew.  Round  this 
inner  circle  are  scenes  of  the  Birth  and  Childhood 
of  Jesus.  These  are  encircled  by  an  unusual  and 
charming  frame  of  brightly  coloured  vine  branches. 
Below  the  rose  in  one  light  on  each  side  are  two 
large  figures  of  brilliant  colour;  the  one  on  the 
right  is  the  Church  of  Christ  crowned  and  holding 
a processional  cross.  On  the  left  is  the  Jewish 
Synagogue,  drooping  and  blindfolded,  with  fallen 
crown  and  broken  standard  as  at  Sens  and  Orbais. 
Between  the  lights  containing  these  two  figures  are 
five  quatrefoils  with  two  Prophets  in  the  outside 
ones  and  three  Angels  in  the  centre  ones.  In  the 
triforium  below  are  the  twelve  Apostles,  much  re- 
stored. The  lower  windows  are  new,  with  the 
exception  of  the  tracery,  which  was  saved  from 
the  fire  of  1668. 

On  the  left  of  the  north  transept  is  some  beautiful 
grisaille  of  the  latter  part  of  the  thirteenth  century, 
with  two  fine  figures  of  the  same  date,  of  St  Stephen 


CHALONS-SUR-MARNE  CATHEDRAL  285 


and  Petrus  tit  p?ans,  the  Bishop  of  Chalons,  who 
died  in  1261.  These  figures  look  as  if  they  had 
once  been  in  a clerestory.  To  the  left  of  this  on 
the  west  wall  of  the  north  transept  is  a window  in 
the  left  light  of  which  are  two  Prophets,  with  a 
donor  below  presenting  a window  to  the  Virgin. 
These  two  Prophets  are  said  to  have  been  removed 
from  the  bottom  of  the  early  fourteenth-century 
window  on  the  south  side  of  the  aisle  next  to  the 
south  transept.  The  pattern  at  the  top  of  these 
does  not  seem  to  fit  on  to  the  pattern  of  the  south 
aisle  window;  but  possibly  this  may  have  been 
interpolated  when  the  window  was  so  barbarously 
mutilated  to  make  room  for  the  sacristy.  The  right- 
hand  light  is  all  modern,  but  it  cleverly  imitates  the 
style  of  the  thirteenth  century. 

In  the  south  transept  is  a window  of  three  lights, 
of  the  fourteenth  century,  filled  with  fleurs-de-lis 
on  a blue  ground,  with  grisaille  in  the  tracery. 
Day  in  ‘Windows/  1st  ed.,  p.  167,  gives  an  illustra- 
tion of  this. 

The  nave  triforium  of  Chalons  Cathedral  is  glazed 
with  grisaille.  In  the  north  clerestory  of  the  nave 
is  a fine  picture  of  a Bishop  presenting  a window  to 
St  Stephen. 

In  the  south  clerestory  of  the  nave,  the  second 
window  from  the  transept  contains  PajjatlUS 
(Eapellan,  i.e.}  Pagan  the  Chaplain  presenting  a 
window  to  St  Stephen,  on  a fine  blue  ground.  The 
grisaille  at  Chalons  is  very  beautiful,  especially  in 
the  clerestory  of  the  choir.  See  Day's  ‘ Windows/ 
1st  ed.,  pp.  25,  144,  167,  335. 


286 


CHAPTER  XXXV. 

CHALONS,  ST  ALPIN,  NOTRE  DAME;  AND  ORBAIS. 

The  church  of  St  Alpin  at  Chalons  contains  several 
very  interesting  windows  of  the  Renaissance  period. 

On  the  north  side  is  a small  window  apparently 
original  and  unrestored.  It  contains  the  Virgin 
holding  the  dead  Christ  in  a very  archaic  picture, 
perhaps  of  the  end  of  the  fifteenth  century. 

The  next  window  is  modern,  and  the  third  is 
mixed,  with  different  scenes.  The  fourth,  which  is 
next  to  the  east  window  on  the  north  side,  contains 
very  beautiful  pictures  of  fflaghalatrte’S  life.  In 
the  top  on  the  left  she  is  boutez , i.e.,  “expelled” 
from  Jerusalem,  in  a beautiful  golden  vessel.  On 
the  right  she  comes  to  Marseilles  and  preaches  to 
the  Duke  and  his  wife.  In  the  middle  on  the  left 
the  Duke  goes  to  Jerusalem  and  his  wife  dies 
ensaincte , i.e .,  “with  child”;  on  the  right  Mary 
Magdalene  in  a splendid  golden  ship  returns  to 
Jerusalem  and  finds  the  wife  and  child  on  a rock, 
and  the  Duke  prays  her  to  revive  them.  At  the 
foot  on  the  left  Mary  Magdalene  baptises  the  Duke 
and  his  wife  who  has  come  to  life  again.  On  the 


CHALONS-SUR-MARNE : ST  ALPIN  287 


right  Mary  Magdalene  is  being  conducted  by  an 
angel  into  the  desert. 

The  double  window  at  the  east  contains  six  fine 
panels  of  the  Sacrament,  mixed  up  with  six  others. 
Of  the  six  pictures  in  the  left  half  of  the  window, 
the  one  at  the  top  on  the  left  is  the  Manna,  and  the 
one  on  the  right  is  the  Last  Supper ; in  the  middle 
on  the  left  is  the  Holy  Communion  being  celebrated 
in  a Flamboyant  church  ; in  the  middle  on  the  right 
is  the  Procession  of  the  F6te  Dieu  in  the  streets 
round  the  church  of  St  Alpin.  In  the  two  lowest 
panels  of  the  left  half  is  the  Nativity  and  St  John 
the  Baptist  presenting  donors.  In  the  right  half  of 
the  window,  at  the  top  is  the  sacrilege  of  the  Jewish 
curiosity  dealer  of  1290  who  lived  in  the  rue  des 
Billettes.  The  Jew’s  shop  is  vividly  depicted  and 
full  of  bric-a-brac,  and  the  woman  is  carrying  away 
the  clothes  given  her  by  the  Jew  in  exchange  for 
the  Host,  as  in  the  window  in  Rouen  Museum. 
Side  by  side  with  this  is  the  Pure  Sacrifice  with 
the  anti-Protestant  inscription : corps  pur  faerap 
et  no  pas  faict  = “ the  body  pure,  true,  and  not 
feigned  ” ; in  this  picture  there  is  also  an  anti- 
Protestant  representation  of  a soul  freed  from 
Purgatory.  In  the  middle  a crowd  of  nineteen 
people  is  being  presented  to  the  Virgin ; at  the 
foot  St  Paul  presents  donors.  The  glass  in  the 
tracery  of  the  East  window  is  modern. 

The  double  window  to  the  right  south  of  the 
East  window  contains  in  the  left  half,  dated  1522, 
the  carrying  of  the  Cross : the  Crucifixion : the 
Descent  from  the  Cross.  The  right-hand  half, 


288 


STORIED  WINDOWS 


dated  1521,  contains  the  Nativity:  Burial:  Resur- 
rection : Trinity : Christ  coming  as  Judge.  This 
window  is  of  fine  warm  colour.  The  next  window 
on  the  south  to  the  right  of  this  has  in  the  left  half 
beautiful  clear  pictures  of  the  Immaculate  Con- 
ception : the  birth  of  the  Virgin  in  a bright  ruby 
bed : the  presentation  of  the  Virgin  in  the  Temple, 
in  which  picture  is  included  the  Jewish  money- 
changer like  the  one  in  the  Cathedral : and  a very 
beautiful  Annunciation.  In  the  right  half  of  the 
window  is  the  marriage  of  Mary  and  Joseph,  in 
which  is  the  unusual  and  rather  startling  addition 
of  deux  pretendants  Evinces , i.e.,  two  disappointed 
suitors;  and  the  Visitation  and  St  Stephen,  St 
Charlemagne,  and  St  Alpin.  This  window  is  dated 
1521.  With  regard  to  these  disappointed  suitors, 
in  the  legend  of  St  Joseph  in  the  Proto-Gospel  of 
St  James  of  the  third  century,  it  is  said  that  the 
Virgin  Mary’s  eligible  nearest  relatives  were  as- 
sembled that  a husband  might  be  chosen  for  her. 
The  candidates  deposited  rods  of  the  almond-tree 
in  the  temple  overnight,  and  in  the  morning  the 
withered  branch  of  Joseph  was  found  green  and  in 
blossom,  like  Aaron’s  rod  that  budded,  and  therefore 
the  others  were  rejected  and  Joseph  was  chosen. 
In  the  window  of  the  life  of  the  Virgin,  dated  1509, 
in  the  south  aisle  of  Chalons  Cathedral,  Joseph 
bears  the  legendary  rod  that  budded,  as  in  the 
window  of  St  Pierre,  Chartres  (see  p.  117).  The 
next  two  windows  are  modern. 

In  the  south  transept  and  south  aisle  of  the  nave 
of  St  Alpin,  Chfilons,  are  six  grisaille  pictured 


CHALONS,  ST  ALPIN,  NOTRE  DAME  289 

windows  in  Italian  style.  The  first  of  these  in 
the  south  transept  contains  the  miracle  of  Cana, 
the  feeding  of  five  thousand,  and  the  Eucharist. 
This  window,  dated  1536,  contains  very  fine  pic- 
tures suggestive  of  the  art  of  Florence  or  Rome. 

The  next  is  a very  beautiful  window  with  the 
Baptist  preaching  : and  being  brought  before  Herod, 
who  wears  the  turban  of  a pagan.  In  the  tracery 
are  scenes  of  the  life  of  St  John  the  Baptist. 

The  third  has  a poor  picture  of  the  Resurrection. 
The  fourth  is  modern  except  in  the  tracery. 

The  fifth,  dated  1539,  has  a vigorous  picture  of 

the  Tiburtine  Sibvl. 

%/ 

The  sixth,  dated  1532,  represents  St  Alpin  before 
Attila. 

Over  the  West  door  is  a Renaissance  Crucifixion 
of  bright  colour,  on  a blue  ground  filled  with  fleurs- 
de-lis . 

The  fine  windows  at  the  east  end  of  St  Alpin  are 
darkened  by  outside  buildings  in  a way  most  dis- 
creditable to  the  town  of  CMlons. 


NOTRE  DAME,  CHAlONS-SUR-MARNE. 

The  church  of  Notre  Dame  at  Chalons  has  finely 
coloured  windows  of  the  sixteenth  century  in  the 
aisles  of  the  nave. 

The  first  on  the  north,  dated  1525,  has  a very 
spirited  picture  of  the  Battle  of  Las  Navas  de 
Tolosa,  where  Alfonso  IX.  of  Castille  defeated  the 


T 


290 


STORIED  WINDOWS 


Moors  in  1212  with  the  miraculous  aid  of  Saint 
Jago  de  Campostella. 

The  second,  dated  1526,  contains  the  death  of  Ste 
Anne,  and  the  Death,  Assumption,  and  coffin  of  the 
Virgin. 

The  third  has  the  history  of  Ste  Anne  and  the 
Virgin. 

The  fourth  seems  mostly  restored,  if  not  all 
modern. 

The  fifth,  dated  1526,  contains  the  Crucifixion. 
Opposite  to  this  on  the  south  side  of  the  nave  aisle 
is  a window  of  1537  containing  the  Kiss  of  Joachim 
and  Anne : the  Immaculate  Conception  : the  birth 
of  the  Virgin  : and  the  presentation  of  the  Virgin  in 
the  Temple  : and  the  Annunciation.  The  three  last 
pictures  are  not  easy  to  understand,  and  have  prob- 
ably been  inserted  from  elsewhere. 

ORBAIS  l’aBBAYE. 

In  going  from  Chalons  to  Reims  it  is  possible 
to  visit  Orbais  l’Abbaye  by  a roundabout  journey 
to  Mezy  and  Conde-en-Brie,  whence  the  visitor  is 
conveyed  by  omnibus  a distance  of  eight  miles  to 
Orbais.  There  is  not  much  glass  at  Orbais,  but 
the  unequalled  quality  makes  up  for  the  quantity. 

The  East  window  of  the  Lady  Chapel  is  small 
and  low  down,  but  it  contains  lovely  glass  of  much 
finer  drawing  than  the  usual  style  of  the  thirteenth 
century.  It  has  three  large  panels  of  an  unusual 
cruciform  shape,  which  extend  to  the  edges  of  the 
window  and  entirely  interrupt  the  border.  In  the 


ORBAIS  L’ABBAYE 


291 


top  cruciform  panel  are  men  wtih  grapes  at  the 
summit,  and  a horned  IHojJgeS  at  the  side  with  a 
tablet  inscribed  Squtla  faocatXS  pullos  = “the  Eagle 
calling  to  its  young.”  In  the  round  medallion  in 
the  centre  of  this  cruciform  panel  is  a most  grace- 
ful picture  of  three  Daughters  of  Jerusalem,  in- 
scribed ©oleo  cor  rneu(rn)  jftlte  Eerusalem=“  I grieve 
in  my  heart,  ye  daughters  of  Jerusalem.”  The  line 
of  their  figures  and  drapery  is  exquisite. 

In  the  central  cruciform  panel  is  the  Crucifixion 
with  two  Cherubs  at  the  top,  Abraham  on  the  left, 
and  a Man  blessing  two  Children  on  the  right,  and 
the  Virgin  and  St  John  at  the  foot. 

The  third  and  lowest  cruciform  panel  is  filled 
with  new  glass. 

In  the  south  transept  is  a very  small  window  of 
the  thirteenth  century  with  the  Crucifixion,  having 
on  the  right  the  Church  Triumphant  with  Cross 
and  Chalice,  and  on  the  left  the  drooping  Syna- 
gogue with  broken  banner.  Next  to  this  is  a 
small  window  with  fine  grisaille,  but  the  pattern 
is  broken  by  two  much  more  modern  shields. 

In  the  choir  clerestory  at  Orbais  are  four  figures 
in  two  lancets  of  the  thirteenth  century,  all  in  the 
act  of  blessing.  Above,  in  the  left  lancet,  is  Jesus 
with  a most  impressive  face,  and  below  is  the  Virgin 
and  Child,  with  a more  elaborate  canopy  than  is 
usual  in  the  thirteenth  century,  like  the  canopy 
over  the  Virgin  in  the  window  of  Notre  Dame  ae 
la  belle  Verriere  at  Chartres.  In  the  right  lancet 
is  an  Apostle  and  a Bishop.  The  rose  above  has 
a medallion  in  the  centre. 


292 


STORIED  WINDOWS 


Next  to  this  on  the  south  is  a window  with  two 
strips  of  fine  border,  and  a good  head  with  a crozier 
of  the  thirteenth  century,  and  in  other  windows 
there  are  fragments  of  splendid  colour. 

In  the  sides  of  the  choir  clerestory  are  some  plain 
glazed  windows  with  patterns  formed  by  the  lead. 

The  grisaille  at  Orbais  is  remarkably  beautiful 
and  varied.  It  has  about  eighteen  different  pat- 
terns. Only  one  bay  of  the  great  nave  remains, 
as  the  rest  was  pulled  down  about  a hundred  years 
ago  to  save  the  expense  of  keeping  such  an  unneces- 
sarily large  church  in  repair.  In  the  clerestory  of 
this  bay  is  a fine  grisaille  window  of  two  lancets 
with  a rose. 

Orbais  l’Abbaye  is  easy  of  access  for  the  motorist 
or  cyclist,  and  it  is  situated  in  a beautiful  country 
with  fine  views.  It  certainly  should  be  visited  if 
possible,  as  it  supplies  a standard  of  the  very  high- 
est artistic  merit  reached  in  the  thirteenth  century 
by  the  glass  artist. 


!#,►;<  a 

• T /*  . 


REIMS  CATHEDRAL. 


ip  ^ Effete  Hi 

WR3IN 

iMNdMn 

ItilK*'..  'S  *f  *n 


RIM  41.  MM! 
M#r : * 

kiBS-:ffl_4Sy| 


IMClIKjyffEiiSv^ 

l!«0***afr  Ki 


North  Nave  Clerestory.  Kings  of  Erance,  with  the  Archbishops 
who  Crowned  them.  XIIIth  Century. 


293 


CHAPTER  XXXVI. 

REIMS,  LA0N,  SOISSONS. 

The  famous  cathedral  of  Notre  Dame  at  Reims  con- 
tains a most  solemn  and  impressive  series  of  large 
figures  of  the  thirteenth  century,  all  round  the  clere- 
story of  the  nave  and  choir,  in  twenty-four  pairs  of 
lancets  with  a rose  above  each  pair.  Their  dim  re- 
ligious light  is  unfortunately  accentuated  by  the 
white  light  of  the  windows  of  the  nave  aisles  and 
most  of  the  ambulatory ; so  that  to  see  these  win- 
dows satisfactorily  it  is  necessary  to  choose  a time 
when  the  sun  is  shining  through  the  glass.  The 
figures  in  the  nave  clerestory  represent  thirty-six 
Kings  of  France,  with  the  thirty-six  Archbishops  who 
crowned  them.  Their  names  are  a matter  of  con- 
jecture for  lack  of  inscriptions.  But  the  sixth  on 
the  south  side  is  inscribed  Satolus,  and  the  figure 
is  supposed  to  be  that  of  Charlemagne.  The  series 
is  rather  monotonous,  as  they  are  all  seated  to  show 
that  they  are  dead.  Some  of  the  backgrounds,  which 
are  composed  entirely  of  sapphire  or  ruby  glass,  are 
very  beautiful. 

On  each  side  of  the  choir  clerestory  are  three 
pairs  of  lancets,  with  a double  row  of  Episcopal 


294 


STORIED  WINDOWS 


figures;  in  the  East  window  is  SlnttCUS,  i.e .,  Henri 
de  Braine,  who  was  Archbishop  of  Reims  from 
1227-1246,  which  serves  to  date  the  glass.  By 
his  side  is  a model  of  his  cathedral,  which  is  sur- 
mounted by  an  angel,  above  him  is  a picture  of  the 
Crucifixion,  and  above  his  cathedral  is  the  Virgin 
and  Child.  With  him  are  the  dependent  bishops  of 
Soissons,  Beauvais,  Noyon,  Tournay,  Laon,  Amiens, 
Senlis,  Terrouanne,  each  with  his  cathedral  at  his 
side,  but  no  attempt  is  made  to  make  these  cathe- 
drals resemble  the  real  ones.  Some  of  these  are  in- 
scribed ffifcclta,  i.e.,  Ecclesia  (eglise)  and  ©pg  for 
Episcopus  = Bishop,  with  the  Latin  name  of  the  see, 
as  Catalafanensts  = Chalons,  Sbesstonensts;  = Soissons. 
In  the  upper  row  the  Bishops  have  no  cathedrals. 
The  first  window  on  each  side  on  entering  the  choir 
has  a figure  between  vertical  bands  of  grisaille,  as 
at  St  Pierre  in  Chartres. 

In  the  Lady  Chapel  is  a Jesse  tree  and  a history 
of  the  Virgin,  both  much  restored,  especially  in  the 
blue  ground.  It  is  unfortunate  that,  as  at  Canter- 
bury, Bourges,  and  Auxerre,  the  eye  of  the  beholder 
looking  eastward  up  the  centre  of  the  building 
should  be  obliged  to  rest  on  rather  staring  modern 
glass  at  the  east  end. 

The  western  wall  is  full  of  colour,  but  much  of 
the  glass  is  new,  because  the  enormous  rose  was 
injured  by  a great  hailstorm  in  1886.  Below  the 
rose  is  a triforium  filled  with  nine  pictures  of  ex- 
treme brightness,  representing  the  coronation  of 
Clovis,  the  converted  King.  He  is  in  the  centre 
with  large  fleurs-de-lis  on  blue.  On  his  right  is 


REIMS  CATHEDRAL 


295 


St  Remi,  and  on  his  left  is  the  Bishop  of  Soissons ; 
next  to  these  are  Ste  Clotilde,  the  wife  of  Clovis, 
who  converted  him,  and  his  sister  Albofrede.  Out- 
side of  these  are  a Bishop  and  a King  on  each  side. 
Much  of  this  glass  was  replaced  in  the  sixteenth 
century,  and  on  the  sleeve  of  the  outside  figure 
on  the  left  is  the  date  1550.  This  triforium  under 
the  western  rose  contains  the  most  brilliant  body 
of  colour  in  the  cathedral  of  Reims. 

The  rose  of  the  north  transept  is  perhaps  the 
finest  piece  of  thirteenth-century  glass-work  in  the 
Cathedral.  It  is  like  a huge  jewel  suspended  in 
the  air,  and  sparkling  with  silver  and  ruby  and 
sapphire.  In  the  centre  is  the  Creator  encircled 
by  the  sun,  moon  and  stars,  and  angels.  Round 
this  are  twenty-four  subjects  from  the  creation  of 
Adam  to  Cain  and  Abel,  and  a number  of  animals, 
with  a martyrdom  of  St  Stephen  of  the  fifteenth 
century.  This  rose  is  most  impressively  beautiful 
and  almost  unique.  The  rose  of  the  south  transept 
contains  sixteenth -century  glass,  with  a very  un- 
usual broad  band  of  white  between  the  coloured 
centre  and  the  outer  border. 

The  whole  impression  produced  by  the  glass  in 
the  cathedral  of  Reims  is  somewhat  disappoint- 
ing and  unsatisfactory.  For  the  great  quantity  of 
undoubtedly  old  and  genuine  glass  in  the  forty- 
eight  lancets,  with  their  double  row  of  magnificent 
figures,  and  in  the  twenty-four  roses,  which  to- 
gether fill  the  whole  of  the  clerestory,  as  well  as  in 
the  windows  of  the  western  wall,  the  transepts,  and 
the  Lady  Chapel,  does  not  arouse  the  admiration 


296  STORIED  WINDOWS 

of  the  observer  as  much  as  might  have  been  an- 
ticipated. 

On  comparing  the  thirteenth-century  glass  in  the 
nave  of  the  two  cathedrals  of  Reims  and  Chartres, 
the  reason  for  this  becomes  manifest.  For  in  the 
nave  at  Chartres  all  the  glass  is  illumined  by  the 
light  which  comes  through  the  coloured  windows, 
with  the  slight  exception  of  the  light  admitted 
through  the  Chapelle  Vendome.  But  in  Reims, 
owing  to  the  owlish  stupidity  of  the  ecclesiastical 
authorities,  all  the  thirteenth -century  medallions 
in  the  lower  windows  of  the  aisles  and  ambulatory 
were  destroyed  and  replaced  by  white  glass  in  the 
middle  of  the  eighteenth  century.  Consequently 
the  clerestory  of  Reims  is  illumined  by  the  inside 
light  from  below,  which  comes  in  through  the  lower 
windows.  This  seems  to  turn  the  windows  inside 
out,  and  it  gives  an  ugly  prominence  to  the  leads. 
If  the  lower  windows  were  filled  with  the  original 
thirteenth -century  glass,  then  all  the  light  would 
come  from  outside  through  the  deep-coloured  glass 
itself,  and  Reims  would  rival  Chartres.  As  it  is, 
the  lofty  clerestory  windows,  when  the  sun  is  not 
directly  shining  through  them,  produce  an  effect 
on  the  eye  more  like  that  of  dark  hanging  curtains 
than  of  gleaming  windows.  The  same  barbarous 
destruction  of  thirteenth-century  medallions  was 
perpetrated  in  the  church  of  St  Remi  about  the 
same  time. 


REIMS,  ST  REMI 


297 


ST  REMI,  REIMS. 

The  choir  of  St  Remi  was  pulled  down  and 
rebuilt  by  Pierre  de  Celles,  the  Archbishop  of 
Reims,  in  1162.  Consequently  a few  of  the  oldest 
windows  date  from  the  second  half  of  the  twelfth 
century,  but  nearly  all  the  glass  belongs  to  the 
thirteenth  century. 

In  the  lofty  clerestory  are  thirty-three  splendid 
lancets,  each  containiug  two  figures,  one  above  the 
other.  In  the  centre  of  the  upper  row  is  the 
Virgin,  and  on  each  side  of  her  are  twelve  Apostles 
and  four  Evangelists,  and  beyond  are  sixteen  Pro- 
phets. In  the  lower  row,  the  figures  are  Archbishops 
of  Reims,  ending  at  the  south-west  with  Samson, 
who  died  in  1161.  The  figures  are  all  seated  and 
very  stiff.  The  backgrounds  are  composed  of  a 
regular  mosaic  of  small  pieces  of  blue  glass.  The 
shadows  are  formed  by  thick  parallel  lines,  as  if 
made  with  one  of  the  combs  of  St  Blaise.  The 
colours  of  the  drapery  are  mostly  brown  and  green. 
In  the  designs  there  is  the  same  economy  which 
is  found  at  St  Pierre,  Chartres,  and  St  Urbain, 
Troyes ; for  the  same  figure  does  duty  several 
times  under  different  names.  For  instance,  St  John 
looking  to  the  right  becomes  St  Barnabas  looking 
to  the  left  in  the  adjoining  window.  These  windows 
are  much  lighter  than  those  in  the  Cathedral  clere- 
story, and  they  form  a fine  gallery  very  high  up. 
They  all  have  broad  borders. 

Below  the  triforium  is  another  row  of  still  more 
ancient  windows  with  very  broad  borders  and  large 


298 


STORIED  WINDOWS 


figures.  The  East  window  of  this  lower  range  con- 
tains an  extremely  fine  Crucifixion  of  Byzantine 
style  of  the  twelfth  century,  where  the  Hand  of 
God  points  to  our  Saviours  Head,  and  His  Feet  are 
supported  by  a slab  beneath  which  is  a chalice,  and 
below  the  arms  of  the  Cross  stand  the  Virgin  and 
St  John,  out  of  whose  halos  issue  flowers  ; this  scene 
entirely  interrupts  the  border.  The  two  windows 
to  the  left  of  this  and  the  first  on  the  right  also  con- 
tain glass  which  is  assigned  to  the  twelfth  century. 

In  the  clerestory  of  the  nave  are  small  round- 
arched  Romanesque  windows  containing  ancient 
single  figures  framed  in  grisaille. 

In  the  north  transept  is  a rose,  the  subject  of 
which  is  the  baptism  of  Clovis,  but  it  was  greatly 
damaged  by  fire  towards  the  end  of  the  eighteenth 
century,  and  now  most  of  it  has  been  restored  with 
plain  coloured  glass. 

In  the  south  transept  there  is  no  rose,  but  above 
the  door  is  fan-shaped  tracery  containing  brilliant 
glass  of  the  late  fifteenth  century.  Above  this  is 
a fine  Flamboyant  window,  the  upper  half  of  which 
is  also  filled  with  beautiful  glass  of  the  end  of  the 
fifteenth  century.  The  lower  part  contains  new 
glass  which  casts  coloured  images  on  the  floor  when 
the  morning  sun  shines  through. 

In  the  treasury  are  twenty-eight  fine  Limoges 
enamel  pictures  of  1663  composed  by  Laudin. 
Both  in  the  Cathedral  and  St  Remi  there  are  many 
pieces  of  splendid  tapestry,  and  the  coronation 
plate  in  the  treasury  of  the  Cathedral  is  of  ex- 
ceptional interest. 


LAON  CATHEDRAL 


299 


LAON  CATHEDRAL. 

In  returning  from  Reims  to  Paris  it  is  well  to 
go  round  by  Laon  and  Soissons.  In  the  cathedral 
of  Notre  Dame  at  Laon  there  are  only  the  north 
rose  with  pictures  of  the  Sciences,  and  three  other 
windows  of  the  thirteenth  century  with  an  enormous 
rose  above  them,  but  the  latter  form  a most  satisfy- 
ing picture  of  thirteenth-century  colour.  They  are 
all  in  the  east  wall,  which  is  perfectly  straight 
without  any  apse  shape,  because  the  twelfth-century 
chevet , or  apse  with  apsidal  chapels,  was  destroyed 
in  the  thirteenth  century  when  the  Cathedral  was 
lengthened  towards  the  east. 

The  East  window  consists  of  medallions  with 
broad  borders  of  lovely  ruby  and  sapphire ; the 
subjects  are  the  later  Life  of  Christ,  beginning  at 
the  base  with  His  Entry  into  Jerusalem  and  ending 
with  His  Ascension. 

The  window  on  the  right,  south  of  the  East 
window,  begins  with  the  Annunciation  and  includes 
the  early  Life  of  Christ. 

The  north  window  on  the  left  contains  the  legend 
of  Theophile  and  scenes  of  martyrdom. 

Above  these  three  windows  is  a large  and  splendid 
rose  of  the  thirteenth  century  of  magnificent  colour, 
which,  owing  to  its  size,  is  perhaps  even  finer  than 
the  beautiful  north  rose  of  Reims  Cathedral.  In 
the  centre  of  the  rose  is  the  Virgin  and  Child 
between  St  John  the  Baptist  and  Isaiah,  sur- 
rounded by  a circle  of  half  medallions  containing 
the  twelve  Apostles.  Round  these  are  twelve 


300 


STORIED  WINDOWS 


Prophets  in  circular  medallions.  In  the  outer- 
most circle  are  the  four-and-twenty  Elders  of  the 
Revelations. 

Thirty  miles  north-west  of  Laon  is  St  Quentin, 
which  should,  if  possible,  be  visited  to  see  the 
church  with  the  beautiful  glass  of  the  twelfth  and 
thirteenth  century  in  the  fourteen  lancets  and  seven 
roses  of  the  choir,  and  the  four  lancets  of  the  Lady 
Chapel,  two  of  which,  one  on  each  side  of  the  modern 
Jesse  tree  by  Didron,  contain  the  oldest  glass  in  the 
church.  This  church,  like  Canterbury  Cathedral,  has 
four  transepts,  a peculiarity  which  in  France  is  only 
found  here  and  in  Cluny  Souvigny  and  St  Benoit- 
sur-Loire.  In  the  two  more  eastern  transepts  there 
is  also  fine  later  glass.  In  the  northern  one  are  four 
fifteenth-century  windows,  and  in  the  southern  one 
are  the  two  celebrated  Renaissance  windows,  each 
thirty  feet  high,  of  the  Martyrdom  of  Ste  Barbe 
and  Ste  Catherine,  dated  1533  and  1541,  designed 
by  Mathias  Bleville  of  St  Quentin. 

The  opportunity  should  be  taken  of  seeing  the 
seventy-eight  marvellous  pastels  in  the  Museum, 
including  the  magnificent  portrait  of  Jean  Jacques 
Rousseau,  all  of  which  are  by  the  famous  native 
artist  Maurice  Quentin  De  La  Tour,  who  was 
Painter  to  the  King  Louis  XV. 


SOISSONS  CATHEDRAL. 

In  the  cathedral  of  Notre  Dame  at  Soissons  the 
three  east  windows  of  the  Lady  Chapel  are  of  fine 


SOISSONS  CATHEDRAL 


301 


thirteenth-century  glass  on  a blue  ground.  These 
were  given  by  Blanche  of  Castille  about  1225  after 
her  son  St  Louis  visited  Soissons.  In  the  field  of 
the  East  and  south-east  windows  are  her  castles 
and  fleurs-de-lis. 

The  East  window  contains  scenes  apparently  of 
the  life  of  St  Louis.  The  right-hand  window  on 
the  south  contains  scenes  of  the  story  of  Moses. 
But  the  medallions  in  these  windows  seem  mixed 
and  not  all  of  the  same  subject. 

In  the  east  clerestory  of  the  choir  are  five  hand- 
some windows  containing  a considerable  amount  of 
fragments  of  glass  of  the  thirteenth  century,  which 
came  from  St  Ived  at  Braisne,  a church  of  the 
twelfth  century,  eleven  miles  from  Soissons. 

The  first  on  the  north  has  ancient  figures  of 
the  four  Evangelists  surrounded  by  small  circular 
medallions. 

The  second  on  the  north  has  four  large  medallions 
which  break  the  border.  In  the  lowest  is  Hell ; 
above  this  is  St  Michael  weighing  the  Souls ; in 
the  third  is  the  Crucified  Christ  in  his  Fathers 
lap ; and  the  fourth  at  the  top  contains  the  Glori- 
fication of  Christ. 

The  central  East  window  of  the  choir  clerestory 
of  Soissons  Cathedral  contains  a Jesse  tree  with 
several  fine  old  figures  but  no  Jesse  at  the  foot. 
The  window  to  the  right  south  of  this  has  scenes 
from  the  life  of  Adam  and  Eve.  The  second 
window  on  the  south  seems  to  contain  the  Life, 
Death,  and  Assumption  of  the  Virgin. 

These  windows  are  beautiful  and  interesting  from 


302 


STORIED  WINDOWS 


their  largeness  of  conception  and  richness  of  colour, 
though  much  of  the  glass  is  modern. 

In  the  north  transept  is  a rose  filled  with  fine 
ancient  glass  of  the  end  of  the  thirteenth  century 
or  beginning  of  the  fourteenth. 

In  the  cathedral  of  Soissons  the  south  transept 
has  the  very  unusual  shape  of  a complete  apse  with 
an  ambulatory.  In  the  lower  part  of  it  are  round- 
arched  Romanesque  window-frames  of  the  eleventh 
century. 

There  is  also  a fine  picture  by  Rubens  of  the 
Adoration  of  the  Shepherds,  and  a piece  of  Gobelins 
tapestry  depicting  St  Gervais  and  St  Protais,  the 
gift  of  Millet,  who  was  Bishop  of  Soissons  from 
1443  to  1502. 


TROCADERO  MUSEE,  PARIS.  (No.  i.) 

Church  Triumphant,  with  a Chalice  and  the  Standard  of  the  Cross 

OVER  THE  DROOPING  SYNAGOGUE. 

XIIth  Century  Medallion  from  Chalons  Cathedral. 


Compare  pp.  195,  226,  284. 


303 


CHAPTER  XXXVII. 

VINCENNES,  MONTMORENCY,  ECOUEN. 

In  passing  through  Paris,  the  traveller,  after  seeing 
the  thirteenth-century  glass  of  the  Sainte  Chapelle, 
and  visiting  the  Musee  de  Sculpture  at  the 
Trocadero,  to  see  the  beautiful  old  glass  of  the 
twelfth  and  thirteenth  centuries  from  Chalons, 
Vendome,  Bourges,  Gercy,  Notre  Dame,  Poitiers, 
St  Julien  du  Sault,  and  Toul,  should  go  outside 
Paris  to  visit  the  lovely  and  interesting  glass  of 
the  Renaissance  at  Vincennes,  Montmorency,  and 
Ecouen. 

The  chapel  inside  the  Chateau  of  Vincennes  was 
begun  in  1378  on  the  model  of  the  Sainte  Chapelle, 
but  it  was  not  completed  till  the  reign  of  Henri 
Deux,  who  was  present  at  its  consecration  in  1552. 
It  contains  seven  windows,  designed  by  the  great 
artist  Jean  Cousin,  and  paid  for  by  Henri  Deux,  so 
that  these  beautiful  windows  belong  to  the  middle 
of  the  sixteenth  century.  Two  of  these  windows 
face  each  other  in  the  nave,  and  the  other  five  are 
in  the  apse. 

The  window  on  the  north  side  of  the  nave  has 


304 


STORIED  WINDOWS 


been  restored  by  Oudinot.  The  old  inscription 
states  that  it  represents  the  opening  of  the 
Ctnquteme  sceau,  or  “ fifth  seal ” of  the  Apocalypse, 
mentioned  in  the  ninth  verse  of  the  sixth  chapter 
of  the  Revelations : “ And  when  he  had  opened 
the  fifth  seal,  I saw  under  the  altar  the  souls 
of  them  that  were  slain  for  the  word  of  God.” 
Among  the  righteous  souls  Jean  Cousin  did  not 
hesitate  to  portray  Diane  de  Poitiers,  to  please 
Henri  Deux. 

The  second  window  on  the  north,  in  the  apse, 
has  been  very  little  restored  if  at  all.  In  each  of 
the  two  lights  are  two  pictures,  one  above  the  other, 
with  very  clear  inscriptions,  and  Henri  Deux  and 
Ste  Catherine  are  at  the  base.  The  subjects  of  all 
the  five  windows  of  the  apse  are  taken  from  the 
Apocalypse.  At  the  foot  of  the  second  window 
are  two  angels  holding  the  shield  of  France.  At 
the  base  of  the  third  window  is  King  Frangois 
Premier  in  the  costume  of  a knight  of  the  order 
of  St  Michel.  The  base  of  the  fourth  is  like  that 
of  the  second.  At  the  base  of  the  fifth  window 
is  the  Virgin  and  St  Francis  of  Assisi. 

The  window  on  the  south  side  in  the  nave  has 
a scene  from  Revelations  xiv.  14-20,  where:  “the 
sickle  was  cast  upon  the  earth,  and  the  earth  was 
reaped,  and  the  vintage  of  the  earth  was  gathered 
and  cast  into  the  wine-press  of  the  wrath  of  God.” 

The  very  legible  inscriptions  add  interest  to  all 
these  windows,  and  the  beautiful  drawing  makes 
them  look  like  a set  of  fine  pictures  which  might 
have  been  painted  on  canvas. 


MONTMORENCY 


305 


MONTMORENCY. 

The  town  of  Montmorency  is  about  ten  miles 
from  Paris,  starting  from  the  Gare  du  Nord. 

The  Seigneurs  of  Montmorency,  belonging  to 
one  of  the  greatest  families  in  France,  began  to 
be  illustrious  in  the  time  of  Mathieu  I.,  who 
married  as  his  first  wife  Aline,  the  natural  daughter 
of  Henry  I.  of  England ; and  secondly,  Adelaide  de 
Savoie,  the  widow  of  Louis  VI.  Mathieu  I.  was 
Connetable  of  France  when  he  died  in  1160. 
Mathieu  II.,  at  the  battle  of  Bouvines  in  1214, 
took  twelve  Imperial  banners  and  gained  for  the 
Montmorenci  the  right  to  bear  16  alerions , or  little 
heraldic  eagles  without  beak  or  claws,  in  their  arms, 
instead  of  the  original  four. 

Guillaume  de  Montmorenci  was  Seigneur  from 
1477  to  1531.  It  was  he  who  built  the  present 
church  of  St  Martin.  He  was  the  only  Mont- 
morenci who  did  not  wear  a beard,  following  the 
fashion  of  Louis  XII. 

In  the  church  are  fourteen  windows  of  the  six- 
teenth century,  of  the  greatest  interest,  both  from 
their  artistic  merit  and  also  as  a pictured  page 
of  the  history  of  France.  They  are  full  of  fine 
colour  and  well-drawn  portraits,  but  they  produce 
the  effect  rather  of  a picture-gallery  than  of 
church  windows. 

Over  the  north  door  is  the  Vitrail  des  Alerions, 
i.e.}  “window  of  the  Eaglets,”  so  called  because 
the  tracery  is  filled  with  azure  alerions  on  a gold 

u 


306 


STOKIED  WINDOWS 


ground.  Half  of  this  beautiful  window  has  been 
entirely  renewed.  It  contains  the  figures  of  Mary 
Magdalene  and  Mary  Salome.  The  other  half 
with  Mary  Cleophas  and  Martha,  with  the  Tarasque 
or  monster  of  Tarascon,  has  all  its  original  glass 
except  the  head  of  Martha.  Day  illustrates  this 
in  ‘Windows/  1st  ed.,  p.  213. 

The  next  window  east  of  the  north  door  contains 
St  Francis  of  Assisi,  St  Christopher,  St  Stephen, 
and  the  elder  Francois  de  Dinteville,  Bishop  of 
Auxerre,  who  died  in  1530.  Westlake  considers 
this  an  almost  perfect  specimen  of  the  art  of  the 
period. 

The  third  is  the  famous  window  signed  E.L.P., 
i.e.,  Engrand  le  Prince,  the  celebrated  artist  of 
Beauvais,  who  placed  the  portraits  of  Franqois 
Premier  and  Henri  Deux  among  the  ancestors  of 
Christ  in  the  Jesse  tree  at  Beauvais,  where  he  is 
buried.  The  donor  is  Charles  de  Villiers  de  ITsle 
Adam,  Count  Bishop  of  Beauvais,  cousin  of  the 
Grand  Connetable.  He  was  ambassador  of  Frangois 
Premier  to  Charles  V.,  whose  tutor  Pope  Adrien 
VI.  is  here  portrayed  in  full  armour  as  Saint 
Adrien.  In  the  centre  is  the  Virgin  and  Child. 
The  other  figure  is  St  Charlemagne,  whose  head 
has  been  restored  with  the  features  of  Charles  V. 
This  is  a brilliant  and  vigorous  sketch  of  splendid 
colouring,  but  it  is  intended  to  be  viewed  from  a 
distance. 

The  donors  of  the  fourth  wfindow  are  Guy  de 
Laval  and  his  wife  Anne  de  Montmorenci.  On 
the  left  is  Sainte  Anne,  and  below  are  the  Virgin 


MONTMORENCY 


307 


and  Anne  de  Montmorenci.  In  the  centre  is  St 
Jerome  and  Guy  de  Laval;  on  the  right  is  the 
Crucifixion  and  a lovely  figure  of  Ste  Madeleine. 
This  is  one  of  the  finest  of  all  the  windows.  The 
families  of  Laval  and  Montmorenci  were  connected 
of  old  ; for  the  third  wife  of  Mathieu  II.  was  Emma, 
heiress  of  Laval,  and  their  younger  son  Guy  founded 
the  line  of  Laval-Montmorenci ; his  ultimate  heiress 
Anne  married  Jean  de  Montfort,  and  their  son  was 
created  Count  de  Laval  by  Charles  VII.  at  his 
Coronation  in  1429,  a title  held  by  his  heirs  male 
till  1547.  Charlotte  de  Laval  married  Admiral  de 
Coligny,  son  of  Louise  de  Montmorenci. 

In  the  fifth  window  are  Sainte  Barbe  (head  re- 
stored) with  her  tower,  and  Jean  de  Montmorenci, 
the  eldest  son  of  Guillaume.  He  wears  a beauti- 
fully executed  Collar  of  St  Michel ; in  this  window 
there  are  azure  alerions  on  a gold  ground. 

In  the  first  apse  window  on  the  left  are  Saint 
Guillaume  (of  Orange),  St  Michael,  St  Peter,  St 
Paul,  St  Benedict,  St  Jerome,  and  the  builder  of 
the  church  Guillaume  de  Montmorenci  with  his  five 
sons,  Anne  the  Grand  Connetable,  Philip  Bishop 
of  Limoges,  Jean,  Frangois,  and  a Bastard.  The 
masterly  portrait  of  Guillaume  de  Montmorenci  is 
illustrated  by  Day  in  4 Windows,'  1st  edition,  p. 
66,  as  a specimen  of  the  technique  of  the  Early 
Renaissance  glass  painter. 

In  the  central  East  window,  at  the  bottom  are 
Joseph  and  Mary,  in  the  middle  are  St  Martin  and 
St  Blaise  the  patron  of  wool-carders,  looking  like 
St  Sebastian,  but  he  is  being  martyred  with  huge 


308 


STORIED  WINDOWS 


iron  combs  like  hay-rakes.  At  the  top  is  St  Denis 
carrying  his  severed  head,  and  St  Vincent  with  two 
chained  prisoners. 

In  the  south  apse  window,  at  the  bottom  are 
Anne  Pot,  wife  of  Guillaume,  and  her  three 
daughters,  Louise,  wife  of  Marechal  Gaspard  de 
Coligny,  Anne,  wife  of  Guy  de  Laval,  and  Marie, 
Abbesse  de  Maubuisson,  with  Ste  Anne  and  Ste 
Catherine.  In  the  middle  is  Ste  Madeleine  with 
an  onyx  box  of  perfume,  and  Ste  Martha;  at  the 
top  are  Ste  Barbe  and  Ste  Genevieve. 

The  next  window  on  the  south  contains  a picture 
of  remarkable  perfection  of  detail,  of  Franqois  de 
Montmorenci  third  son  of  Guillaume,  at  the  feet 
of  the  Blessed  Frangoise  d’Amboise  Duchesse  de 
Bretagne,  and  the  Descent  from  the  Cross  and 
the  crowned  Virgin. 

Of  the  tenth  window  the  left  panel  is  modern. 
In  the  centre  is  Marechal  Gaspard  de  Coligny,  father 
of  Admiral  de  Coligny  and  Cardinal  Chatillon,  and 
a modern  St  Michael ; to  the  right  is  Louise  de 
Montmorenci  (head  restored)  and  St  Louis. 

The  eleventh  window  is  called  the  Vitrail  des 
Bonnivet.  It  contains  St  Guillaume,  St  Adrien, 
St  Benedict,  and  Guillaume  Gouffier,  who  married 
Philippe  de  Montmorenci  the  sister  of  Guillaume, 
and  his  six  sons,  including  Adrien  Cardinal  de 
Boisy.  This  window  has  been  much  restored. 
Gouffier  was  Seigneur  de  Bonnivet,  and  was  killed 
at  the  battle  of  Pavia  in  1525. 

The  twelfth  and  last  window  of  the  earlier  date 
is  restored.  It  contains  St  Odon  and  a picture 


MONTMORENCY,  ECOUEN 


309 


of  the  Baptism  of  Christ,  and  the  donor  Odet  de 
Coligny,  who  became  Cardinal  Chatillon  in  1535. 
After  the  murder  of  his  brother  Admiral  de  Coligny 
at  the  massacre  of  St  Bartholomew,  Cardinal 
Chatillon  took  refuge  in  England,  and  he  is 
buried  in  Canterbury  Cathedral. 

West  of  these  are  two  windows  facing  each 
other  in  the  nave,  of  Anne  de  Montmorenci  the 
Grand  Connetable,  and  his  wife  Madeleine  de 
Savoie.  They  are  thirty  years  later  than  the 
others  of  1523-1533  and  decidedly  inferior,  ex- 
hibiting the  decadence  of  translucent  decoration 
caused  by  the  excessive  use  of  coloured  enamel 
in  Elizabethan  time.  The  one  of  these  two 
windows  which  is  on  the  north  side  west  of  the 
north  door  contains  Ste  Anne  and  the  Virgin,  and 
St  John  the  Baptist,  and  St  John  the  Evan- 
gelist, and  Anne  de  Montmorenci  the  Grand 
Connetable,  who  was  killed  at  the  age  of  seventy- 
four  when  fighting  against  the  Huguenots  at  the 
Battle  of  St  Denis  in  1567.  With  him  are  his 
five  sons : Francois  the  Marechal,  Henri  the 

Connetable,  Charles  the  Admiral,  Gabriel  who  was 
killed  at  the  battle  of  Dreux,  and  Guillaume  the 
Colonel-General  of  Light  Cavalry. 

On  the  south  facing  this  is  the  window  with 
Ste  Madeleine  and  Ste  Catherine  and  Madeleine 
de  Savoie  and  her  seven  daughters : Eleonore  Vi- 
comtesse  de  Turenne,  Anne,  Jeanne  Duchesse 
de  Thouars,  Catherine  Duchesse  de  Ventadour; 
and  in  the  other  light,  Louise,  Madeleine,  and 
Marie,  who  married  Henri  de  Foix. 


310 


STORIED  WINDOWS 


ECOUEN. 

Ecouen  is  eleven  miles  from  Paris  on  the  line 
to  Beauvais,  starting  from  the  Gare  du  Nord. 
Like  Montmorency,  it  belonged  to  the  Grand 
Connetable.  It  contains  nine  windows  of  the 
sixteenth  century,  of  which  seven  are  of  1544- 
1545,  and  the  other  two  of  1587. 

The  first  window  on  the  north,  second  from 
the  east  end  of  the  aisle,  dated  1544,  contains 
St  Louis  and  a Canon  as  donor.  In  the  middle 
is  the  Death  of  the  Virgin,  who  is  supported  by 
St  John  and  watched  by  six  Apostles ; above  is 
the  Assumption.  This  might  be  described  as  an 
Italian  picture  rather  than  a window.  It  is  signed 
L.  F.,  like  the  two  windows  following.  These 
initials  are  identified  with  the  initials  of  Laurence 
Fauconnier  in  the  window  of  1544  in  St  Bonnet  at 
Bourges,  made  by  Jean  Lescuyer.  But  it  is  un- 
certain whether  Laurence  Fauconnier  was  the 
donor  or  designer  or  painter  who  executed  the 
design  of  this  window  at  Ecouen,  and  the  ques- 
tion is  further  complicated  by  the  feminine  ap- 
pearance of  the  name  Laurence. 

East  of  this  window  is  a fine  clear  set  of 
pictures  of  the  Annunciation  above,  and  beneath 
it  the  Visitation,  where  Mary  with  two  attend- 
ants visits  Elizabeth  with  two  attendants  and 
Zachariah  in  a beautiful  landscape. 

In  the  window  at  the  end  of  the  north  aisle  is 
the  Birth  of  Christ,  with  Joseph  and  a group  of 


ECOUEN 


311 


shepherds  and  the  Adoration  of  the  Magi,  evi- 
dently an  imitation  of  Raphael. 

In  the  first  window  on  the  north  side  of  the 
apse,  at  the  base  is  the  Grand  Connetable,  Anne 
de  Montmorenci,  kneeling  before  St  Charlemagne, 
and  his  five  sons  with  St  Stephen ; in  the  middle 
is  the  Scourging  of  Christ,  in  the  style  of  Sebastian 
del  Piombo.  At  the  top  is  Christ  being  mocked 
by  the  soldiers. 

Of  the  central  East  window  only  the  upper 
half  remains  with  the  appearance  of  Christ  to  His 
Mother  after  the  Resurrection.  The  lower  half 
was  removed  in  the  eighteenth  century  when  the 
high  altar  was  erected,  and  the  glass  was  placed 
in  the  chapel  on  the  north.  It  contains  the 
winged  Mother  and  Child  with  the  Moon  under  her 
feet  (Rev.  xii.  1 and  14),  and  Anne  and  Joachim, 
and  below  them  Accius  and  Acceolus,  the  martyrs 
of  Amiens,  because  the  church  of  Ecouen  is  dedi- 
cated to  St  Acceul. 

The  apse  window  south  of  the  East  window 
has  at  the  base  Madeleine  of  Savoy  and  five  of  her 
daughters  with  Ste  Madeleine  and  Martha;  in  the 
middle  is  Mary  Magdalene  and  the  gardener,  and 
at  the  top  is  Christ  carrying  His  Cross  and  meet- 
ing His  Mother  and  three  Maries  and  St  John  : this 
is  dated  1545. 

The  next  window  on  the  south  contains  Odet 
Cardinal  de  Chatillon,  between  Christ  and  St  Paul, 
dated  1587  in  the  right-hand  light,  but  1545  in 
the  left-hand  light ; evidently  the  window  was 
damaged  by  the  Huguenots  and  restored  in  1587. 


312 


STORIED  WINDOWS 


In  the  middle  are  three  pictures  of  the  Good 
Shepherd,  and  at  the  top  is  the  Fall  of  Man. 

The  eighth  and  ninth  windows  are  of  the  de- 
cadent period,  forty  years  later,  of  1587,  but  they 
both  contain  inserted  panels  of  1545. 

In  the  eighth  window  is  Henri  de  Montmorenci, 
second  son  of  the  Grand  Connetable,  “ Roi  de 
Languedoc  ” and  determined  opponent  of  Catherine 
de  Medici  and  the  Guises,  who  was  made  Conne- 
table by  Henri  Quatre,  and  a Descent  from  the 
Cross,  with  a fine  panel  inserted  on  the  right  of 
a Canon  and  a King,  perhaps  from  the  East 
window ; the  upper  half  of  this  window  is  in 
white  glass  like  the  following  one. 

The  ninth  window  contains  Antoinette  de  la 
Marck  and  her  two  daughters : she  was  grand- 
daughter of  Diane  de  Poitiers  and  wife  of  Henri 
de  Montmorenci.  On  the  right  is  an  inserted 
panel,  dated  1546.  In  these  windows  may  be 
noticed  the  letters  A.  M.,  the  monogram  of  Anne 
de  Montmorenci,  and  the  Greek  word  AIIAANnS, 
“ unswervingly,”  the  motto  adopted  by  Guillaume 
de  Montmorenci  to  signify  his  undeviating  loyalty, 
sometimes  written  Aplanos  in  modern  letters. 

The  visitor  to  Ecouen  usually  goes  to  see  also 
the  fine  Chateau  built  by  Anne  de  Montmorenci 
the  Grand  Connetable.  In  the  Salle  des  Gardes 
he  placed  forty-four  glass  pictures  of  a non- 
religious character  with  descriptive  verses  under 
each  picture : one  of  them  is  illustrated  by  Day  in 
‘ Windows/  1st  ed.,  p.  218.  They  contain  the  story 
of  Cupid  and  Psyche  as  told  by  Apuleius  in  the 


ECOUEN,  CHANTILLY 


313 


well-known  episode  in  the  Metamorphoses  (com- 
monly called  the  Golden  Ass).  They  are  beauti- 
fully painted  in  Raphaelesque  style,  in  camaieu, 
that  is,  in  iron-red  grisaille  with  no  colour  but 
yellow  stain,  like  the  pictures  on  the  south  side 
of  the  nave  of  St  Alpin  at  Chalons-sur- Marne. 
But  they  are  no  longer  at  the  Chateau  of  Ecouen. 
The  Salle  des  Gardes  has  long  been  destroyed,  and 
in  1806  Napoleon  gave  the  Chateau  to  be  used  for 
the  education  of  the  daughters  of  the  members  of 
the  Legion  of  Honour,  for  which  purpose  it  is  still 
employed. 

The  forty-four  windows,  which  Anne  de  Mont- 
morenci  had  made  for  his  Salle  des  Gardes  in  1544, 
after  passing  through  various  hands,  were  bought  in 
1817  by  the  Prince  de  Conde,  who  was  the  inheritor 
in  the  female  line  of  the  last  of  the  Montmorenci, 
being  descended  from  Charlotte  Marguerite  de 
Montmorenci,  the  fair  daughter  of  Henri  the 
Connetable  and  mother  of  the  Grand  Conde. 
He  placed  the  windows  in  the  beautifully  situated 
eighteenth-century  Chateau  d’Enghien,  at  Chantilly, 
twenty-five  miles  from  Paris.  They  are  now  to  be 
seen  in  the  chapel  of  the  Chateau,  where  every  one 
may  visit  the  wonderful  collection  of  works  of  art 
bequeathed  in  1897  to  the  Institut  de  France  by 
Louis  Philippe’s  famous  son  the  Due  d’Aumale. 


314 


CHAPTER  XXXVIII. 

MONTFORT  l’aMAURY. 

Another  short  and  pleasant  excursion  for  the 
glass-hunter,  who  is  staying  in  Paris,  is  to  go 
out  about  twenty-nine  miles  along  the  line  which 
leads  to  Dreux  and  Granville,  and  thus  visit  the 
church  of  Mont  fort  l’Amaury,  whence  Simon  de 
Montfort  derived  his  name,  and  where  the  ruined 
tenth-century  castle  of  the  Montforts  may  still 
be  seen. 

The  church  is  not  large — in  fact,  it  is  a chapelle 
rather  than  a church,  for  it  has  neither  aisles  nor 
transepts,  but  it  is  full  of  bright  cheerful  colour. 
There  are  in  it  thirty-two  windows,  all  belonging 
to  the  sixteenth  century,  but  many  of  them  were 
made  in  the  last  quarter  of  the  century  when  the 
decadence  had  begun.  This  makes  the  church  of 
Montfort  l’Amaury  particularly  interesting  to  the 
student  of  the  development  of  style  in  church 
windows  of  the  Renaissance  period  of  the  sixteenth 
century.  All  the  glass  is  in  an  excellent  state  of 
preservation,  but  the  style  of  many  of  the  windows  is 
markedly  inferior  to  that  of  some  others,  and  it  is 


MONTFORT  L’AMAURY 


315 


this  inferiority  which  is  so  instructive.  For  the 
best  windows  are  of  about  1544,  while  the  inferior 
ones  date  from  1572  onwards;  and  so  it  is  pos- 
sible by  comparing,  for  instance,  the  sixth  coloured 
window  on  the  north  side,  dated  1544,  which 
contains  a picture  of  Christ  leaving  the  Praetorium, 
with  the  two  windows  with  the  Litanies  of  the 
Virgin  and  the  story  of  Lazarus  on  the  south 
nearest  to  the  west,  dated  1574  and  1578,  to  see 
clearly  the  gradual  deterioration  which  set  in 
during  the  latter  half  of  the  sixteenth  century  in 
Elizabethan  time  when  the  soft  enamel  paints 
began  to  be  freely  used. 

On  the  north  side  of  the  nave  there  are  nine 
windows  with  old  glass,  mostly  of  the  first  half 
of  the  sixteenth  century.  One  of  these  contains 
the  story  of  Joseph  depicted  in  Italian  style. 
Another,  the  fifth  from  the  west,  is  a strong  and 
simple  window  inscribed  ©ic  est  JtltUS  JHCUS 
fctlectUS,  “this  is  my  beloved  Son.”  The  sixth  is 
dated  1544 : in  the  three  lights  is  a brilliant 
picture  of  Christ  leaving  the  Praetorium,  some- 
times entitled  “ Ecce  Homo  ” : below  are  two  fine 
portraits  of  donors  : in  the  tracery  Christ  is  pray- 
ing in  the  Garden  of  Gethsemane,  and  three 
Apostles  are  sleeping.  This  is  a really  good 
Renaissance  window,  the  best  in  the  church,  but 
it  displays  some  of  that  fatal  tendency  to  over- 
crowding which  makes  so  many  of  the  Renaissance 
pictures  seem  trivial  and  misplaced  in  a church 
window  when  compared  with  the  simpler  pictures 
of  the  preceding  centuries. 


316 


STORIED  WINDOWS 


The  seventh  is  a fine  window  of  about  1544,  of 
which  the  subject  is  the  imprisonment  of  St  Peter ; 
the  upper  part  of  the  three  lights  is  filled  with 
architectural  details,  and  below  the  central  picture 
are  figures  of  donors  in  the  outer  lights  and  a 
shield  in  the  middle. 

The  eighth  is  the  last  window  of  three  lights 
on  the  north  side ; in  it  is  the  Crucifixion : one 
of  the  thieves,  who  is  tied  without  any  nails,  is 
on  the  back  of  his  cross  with  his  arms  appearing 
over  the  top. 

The  ninth  window  is  the  first  with  only  two 
lights ; these  contain  a lively  picture  in  the  upper 
part  of  God  addressing  Saul  of  Tarsus,  who  is 
lying  on  the  ground  with  his  fallen  horse.  Below 
is  a picture  of  the  decapitation  of  St  Paul. 

In  the  curve  of  the  apse  at  the  east  are  ten 
windows  of  two  lights  each.  In  the  first  is  the 
Death  of  the  Virgin  with  two  donors,  of  whom 
the  one  on  the  right  is  inscribed  (tlabtie*  The 
second  has  a very  striking  picture  of  the  descent 
of  golden  tongues  of  fire  from  the  Holy  Ghost 
upon  the  disciples  at  Pentecost,  and  at  the  top 
is  a representation  of  the  Holy  Trinity.  In  the 
fifth  is  the  Manna  coming  down  from  Heaven  in 
a shower  of  white,  and  at  the  top  is  a picture  of 
Moses  striking  the  rock.  In  the  sixth  window  of 
the  apse  is  depicted  the  Sacrifice  of  Isaac.  The 
seventh  window  is  filled  with  modern  glass.  In 
the  eighth  are  two  large  figures  of  St  Louis  and 
St  Charlemagne.  In  the  ninth  is  an  unusual  re- 
presentation of  the  Descent  from  the  Cross,  for 


MONTFORT  L’AMAURY 


317 


besides  the  figure  of  Jesus  lying  below,  there  is 
His  Cross  standing  empty  between  the  two  thieves, 
who  are  still  hanging  on  their  crosses.  In  the 
tenth  window,  the  last  of  two  lights,  a bat-like 
devil  is  being  pushed  over  a precipice. 

On  the  south  side  of  the  nave  of  Montfort 
lAmaury  are  eight  windows,  in  each  of  which  are 
three  lights.  At  the  base  of  the  first  of  these 
windows  is  a fine  family  of  donors : in  the  centre 
Christ  is  rising  from  the  tomb,  having  a large 
golden  halo  of  an  unusual  star  shape : in  the 
tracery  is  a picture  of  the  Ascension.  In  the 
second  window  (of  1543)  are  four  scenes  of  the 
infancy  of  Jesus,  and  in  the  upper  part  of  the  left 
light  is  the  Annunciation,  and  in  the  corresponding 
position  in  the  right  light  is  the  angel  appearing  to 
the  shepherds  and  saying  Gloria  in  exselsis  (sic) 
Deo.  In  the  tracery  is  God  receiving  the  ascended 
Virgin,  who  is  crowned,  and  beneath  her  are 
adoring  worshippers.  The  subjects  of  two  other 
windows  are  the  life  of  the  Virgin  of  the  date 
of  1573,  and  the  story  of  St  Yves  (of  1583)  in 
eleven  pictures,  with  the  donor  Anne  de  Bretagne 
in  the  right-hand  corner  at  the  base.  The  fifth 
window  on  the  south  is  dated  1572;  it  is  a good 
specimen  of  the  style  of  the  later  Renaissance  period. 
The  sixth  window  of  about  the  same  date  contains 
the  story  of  Ste  Anne  and  St  Joachim. 

The  seventh  is  dated  1574;  in  the  centre  light 
is  the  Virgin  and  Child  surrounded  by  white  bands 
on  which  sentences  from  the  Litanies  are  inscribed. 
In  the  two  side  lights  are  scenes  from  the  infancy 


318 


STORIED  WINDOWS 


of  Christ.  In  the  tracery  is  God  the  Father  with 
two  angels  below. 

The  eighth  is  the  last  window  on  the  south 
side  of  the  nave  nearest  to  the  west.  It  is 
dated  1578.  It  is  a poor  window  of  which  the 
subject  is  the  story  of  Lazarus.  There  are  also 
six  windows  containing  old  glass  in  the  clerestory 
of  the  choir. 

In  several  of  the  windows  at  Montfort  l’Amaury 
the  portraits  of  the  donors  are  extremely  fine,  and 
they  deserve  more  attentive  examination  than  the 
pictures,  because  the  artist  has  taken  most  pains 
with  the  faces  of  his  patrons  and  their  families,  as 
is  often  the  case  after  the  middle  of  the  fifteenth 
century  and  especially  in  the  sixteenth. 


319 


CHAPTER  XXXIX. 

PHOTOGRAPHS  OF  WINDOWS  IN  FRANCE. 

It  is  difficult  as  a general  rule  to  find  photographs 
of  windows  in  any  country  town  in  France, 
although  good  local  photographs  are  published 
in  Troyes  by  L.  Brunon,  10  rue  Thiers,  and  in 
Reims  by  Rothier,  32  rue  St  Maurice,  and  at 
Moulins  by  B.  Scharlowsky,  7 rue  Regemortes. 

In  Paris,  however,  photographs  of  numerous 
windows  in  different  parts  of  France  are  published 
officially  for  the  Beaux-Arts  by  the  photographic 
establishment  of  Neurdein  Freres,  52  Avenue  de 
Breteuil,  near  Sevres  station.  The  firm  only 
keep  negatives  and  are  unable  to  show  any  copies. 
But  copies  of  all  their  photographs  are  to  be 
seen  at  the  library  of  the  Trocadero,  and  any 
visitor  can  make  his  own  selection  and  take 
down  the  number  attached  to  each  photograph. 
Neurdein  Freres  are  prepared  to  print  off  and 
supply  any  photograph  of  which  the  catalogue 
number  is  sent  to  them,  at  prices  varying  ac- 
cording to  size,  but  rarely  exceeding  1 franc  75 
centimes. 

The  Catalogue  of  the  photographs  contains 


320 


STORIED  WINDOWS 


many  other  things  as  well  as  windows,  and 
therefore  it  is  rather  troublesome  to  consult ; to 
remedy  this,  a list  is  appended  of  all  the  photo- 
graphs of  windows  with  the  catalogue  numbers, 
arranged  alphabetically  according  to  departments. 
This  list  will  be  of  additional  use  in  revealing  to 
the  traveller  the  existence  of  many  churches  which 
contain  old  windows,  which  otherwise  might  be 
unknown  to  him. 


Aisne  . 

. La  Ferte-Milon  : Notre  Dame.  6350 

n 

„ Saint  Pierre.  9067 

a 

„ Saint  Nicolas.  12,821-12,82' 

Hautes 

Alpes 

. Embrun 

. 1090 

Aube  . 

. Aulnay 

. 8622-8625 

a 

. Auxon 

. 8629-8632 

a 

. Auzon 

. 8633 

n 

. Bar-sur-Seine 

. 9725-9728,  9789-9796 

11 

. Berulles 

. 9798-9801 

a 

. Brantigny  . 

. 8662,  8663 

11 

. Brienne-la-Vieille 

. 8668,  8669 

a 

. Brienne-le-Ch&teau 

. 8383,  8384,  8670-2,  i 
8457 

11 

. Chaource 

. 8677-9,  9802-5,  8459,  ! 
9733 

it  • 

. Chappes 

. 9577-9580 

it 

. Chassericourt 

. 8530,  8681 

» 

. Chaudrey 

. 9806 

it 

. Chavanges  . 

. 8392 

. Chessy 

. 8683-,  8684 

» 

. Courtaoult  . 

. 8688 

» • 

. Creney 

. 8694-8696 

n 

. Davrey 

. 8463,  8464 

it 

. Dienville 

. 8697-8699 

it 

. Dosmon 

. 9809 

it 

. Ervy  . 

. 8470-2,  8706-8711 

» 

. Geraudot 

. 8712-8714 

»> 

. Granville 

. 9812-9814 

it 

. Herbisse 

. 9816-9820 

j>  • 

. Juvanze 

. 8718 

>»  • 

. Laines-aux-Bois  . 

. 8720 

8456, 


FRENCH  WINDOW  PHOTOGRAPHS  321 


Aube 

77 

If 

77 

>> 

77 

77 

77 

77 

77 


77 
77 
77 
»> 
77 
77 
77 
77 
77 
77 
77 
77 
77 
77 
}) 
77 
77 
77 
77 
77 
77 
77 
77 
77 
)> 
77 
77 
77 
77 
77 
7 • 
7> 


. Lhuitre 
. Longpr6 
. Magnant 
. Maizi&res 
. Mesnil-la-Comtes8e 
. Montangon  . 

. Montfey 
. Montieramey 
. Montreuil  . 

. Mussy. 

. Noks  . 

. Nogent-sur-Aube 
. Pavilion 

. Pont-Sainte-Marie 
. Pouan 
. Praslin 

. Precy-Saint-Martin 
. Racines 
. Bas-Ricey  . 

. Ricey-Haute-Rive 
. Rosnay 
. Rouilly-Sacey 
. Rouilly-Saint-Loup 
. Rumilly-les-Vaudes 
. Saint-  Andre 


. 9824-9827 
. 8729-8732 
. 8744-8746 
. 8479-8481,  8735-8737 
. 9828,  9829 
. 8749-8751 
. 8754-8757,  8948 
. 8758,  8759 
. 8762,  8763 
. 9834 

. 8486,  8767-8771 
. 9836-9838 
. 8774 

. 8778-8783,  12,026 
. 9843-9845 
. 9850,  9851 
. 8488,  8489 
. 8788 

. 9750,  9856-9858 
. 9862 

. 6849-6852,  8792-3,  8490-1 
. 8794,  8795 
. 8797,8798 
. 9759,  9866-9868 
. 8805 


. Saint-Germain  . . 8825,  8826 

. Saint-Leger-les-Troyes  8829-8835 
. Saint  Parre-les-Tertres  8836-8839 
. Saint  Parre-les-Vaudes  9870-9872 


. Saint  Pouange 
. Thieffrain  . 

. Till  . 

. Torvilliers  . 


. 8848,  8849 
. 8863 
. 8864,  8865 
. 8866-8870 


. Troyes  : La  Madeleine.  9760-9763,  9606-9608 
„ St  Martin-ks-Yignes.  9878-9891 


„ St  Nicolas 

„ St  Nizier 

. Unienville 
. Yalentigny 
. Yaucogne 
. Yaudes 
. Yendeuvre 
. Verri&res 


f0,  9610-9613 
12,074-12,081 

8927 

8928 

9898-9900 

9892-9897 

8930 

8440,  8939,  8940 


X 


322 

STORIED  WINDOWS 

Aube  . 

Villeret 

8944 

» 

Villevoque  . 

8945 

n 

Villiers-Herbisse 

9780,  9781 

Villy-le-Marfichal 

9905,  9906 

Calvados  . 

Lisieux  : St  Jacques  . 

11,025 

yy  • 

Moutier-Hubert  . 

13,113 

Cher  . 

Vierzon 

8349 

Cote  d’Or  . 

Dijon  . 

9061-9063 

Eure  . 

Grand  Andely 

10,492-10,499 

tt 

Bernay  : Notre  Dame  de  la  Couture.  10,424- 

tt 

Bourg-Achard 

10,434-10,437 

tt 

Broglie 

6128 

ft 

Evreux  : Cathedral 

9065,  9066 

tt 

„ St  Taurin 

8551 

tt 

Fontaine-la-Soret 

11,024 

tt 

Gisors  . 

10,459-10,462 

» 

Louviers 

10,465-10,468,  12,928 

tt 

Pont-Audemer  : St  Germain.  10,732 

it 

„ St  Ouen.  9158-9171 

tt 

. Pont-de-FArche  . 

10,473 

tt 

. Quillebeuf  . 

10,474 

tt 

. Serquigny  . 

10,739-10,741 

>> 

. Tilli&res 

8609 

>» 

. Vaudreuil  . 

10,756 

» 

. Verneuil 

10,367,  10,378,  10 

10,765-70 

Indre-et- Loire 

. Champigny-3ur-Veude  5723-54,  5757-5762 

Loire . 

. Ambierle 

5977-5991 

» • 

Saint- Andr^  d’Apchon 

11,047-11,050 

Loir-et-Cher 

. Cour-sur-Loire  . 

6258-6261,  9053 

Maine  et  Loire  . 

Angers  : St  Serge 

11,385-11,390 

tt 

Brissac 

12,152 

tt 

Ponts-de-C6 . 

12,128-12,132 

it 

Saumur  : Notre  Dame  de  Nantilly.  12,286 

Manche  . 

Saint- Lo  : Notre  Dame.  9233,  9234 

Marne 

Ch&lons  : Cathedral  . 

9003-9012 

„ Notre  Dame 

5763,  5932-42 

Morbihan 

Guern  .... 

5969 

Nihvre 

Saint  Saulge 

2992-2995,  12,749-12,’ 

Nord 

Sorle-le-Ch&teau  . 

10,535 

Oise 

Saint  Firmin 

9216-9224,  9314 

Orne 

Alengon 

12,609-19,  12,753-7 

» 

Argentan  : St  Germain.  4027 

tt 

„ St  Martin  . 

197 

FRENCH  WINDOW  PHOTOGRAPHS  323 


Pas  de  Calais  . La  Couture  . 

. 13,017-13,021 

„ . Locon  . 

. 13,042-13,046 

Puy  de  Dome  . Chateau  de  la  Barge  : Chapelle.  9022 

„ . Piom  . 

. 6829-6834 

„ . Yic-le-Comte 

. 7296 

Saone-et- Loire . Autun  . 

. 5831-5855,  8949-8958 

Sarthe  . . Le  Mans 

. 9323-9347 

Seine  . . Puteaux 

. 5855-5859 

Seine-et-Marne  Moret  . 

. 7245 

Seine-et-Oise  . Andresy 

. 10,963-10,968 

„ . Limours 

. 5860-5863 

„ . Montmorency 

. 5379-5455 

„ . Pontoise 

. 6798,  6799 

„ . Triel  . 

. 10,253-10,256 

„ . Yarennes 

. 5602-5610 

Seine  Inferieure  Saint-Saens . 

. 9992-9994 

„ . Yillequier  . 

. 3337 

Somme  . . Roye  . 

. 2368-2370 

„ . . Tilloloy 

. 11,835 

Yienne  . . Poitiers : Cathedral  . 6745-6792 

„ „ St  Radegonde.  12,911-6,  12,918-20 

Haute- Vienne . Solignac 

. 5611-5613 

Vosges  . . Saint-Die  . 

. 12,883-12,888 

Yonne  . . Sens  . 

. 10,143,  10,171-10,182 

324 


STORIED  WINDOWS 


BIBLIOGRAPHY. 


Day,  Lewis  F.  . 

Drake,  M. 
Grinling,  C.  H. 


Lasteyrie,  Comte  de . 
»> 


Stained  Glass,  1903 

Windows,  1897.  (3rd  edition,  1909) 

History  of  English  Stained  Glass,  1912 
Ancient  Stained  Glass  in  Oxford : in  No. 
XXIX.  of  Proceedings  of  Oxford  Historical 
Society,  1883 

Histoire  de  la  peinture  sur  verre,  2 vols.,  1852 
(Euvres  des  peintres  verriers  Fran§ais,  2 vols., 
1885 


Magne,  L. 
Male,  E.  . 
Merson,  0. 
Morris,  W. 
Nelson,  P. 
Sherrill,  C.  H. 
Yiollet-le-Duc 


. Yitraux  de  Montmorency  et  d’Ecouen,  1888 
. L’Art  Religieux  du  xiiie  si&cle  en  France,  1898 
. Les  Yitraux,  1894 

. Caxton’s  Golden  Legend,  3 vols.,  1892 
. Ancient  Painted  Glass  in  England,  1913 
. Stained  Glass  Tours  in  France,  1908 
. Vitrail : in  vol.  ix.  of  Dictionnaire  d’ Architec- 


ture, 1868 

Westlake,  N.  H.  J.  . History  of  Design  in  Painted  Glass,  4 vols., 
1881-1894.  (This  comprehensive  cosmopolitan 
work  is  the  best  book  in  English  on  old  church 
glass) 

Whall,  C.  W.  . . Stained  Glass  Work,  1905 

Winston,  Charles  . Hints  on  Glass  Painting,  2 vols.,  1867 


Angers  by 


»» 

Auxerre  . 
Bourges  . 
»>  • 
»» 


MONOGRAPHS. 

. De  Farcy,  3 vols.  and  album.  Windows  in 
vol.  i.,  1910 
. Denais,  1899 
. Bonneau,  1885 

. Martin  et  Cahier,  2 folio  vols.,  1841-1844 
. Clement  et  Guitard,  1900 

. Marquis  des  Meloizes  (on  later  windows),  folio, 
1898 


BIBLIOGRAPHY:  MONOGRAPHS  325 


Cambridge,  King’ 
Chapel 
Canterbury 
Ch&lons,  Cathedral 
„ St  Alpin 
Chartres  . 

Evreux  . 

i i 

Exeter 
Fairford  . 

Laon 

Le  Mans  . 

»>  • 

Les  Andelys 
Ludlow  . 

Moulins  . 

Poitiers  . 

Reims 

Rouen,  St  Vincent 
St  Florentin 
Sens 

Shrewsbury,  St 
Mary’s 
Tours 
Troyes 
Troyes,  St  Urbain 
York  Minster  . 


James,  1899 

‘ Notes  on  the  Painted  Glass,’  1897 
Lucot,  1907 

Hurault,  in  ‘ Art  Sacre,’  1906 
Lassus,  folio  of  illustrations,  1856,  described  by 
Clerval  (Guide)  Durand,  1881 
Fossey,  1898 
Lebeurier,  1868 
Drake,  1909 
Joyce,  1870 
De  Florival 
Hucher,  folio,  1865 
Ledru  (Guide),  1895 
Poree  (Guide),  1893 
Weyman,  1905 
De  Segange,  1876 

Auber,  in  ‘Memoires  de  la  Soci^te  des  Anti- 
quaires  de  l’Ouest,  1848 
Tarb^ 

Tourneur,  1857 
Renaud,  1885 
Hermelin  (Guide) 

Brull6e,  1861 

Lloyd,  1900 

Marchand  and  Bourasse,  folio,  1849 
Morel-Payen  (Guide),  1910 
Jossier,  1912 
Browne,  1847 


INDEX 


The  ordinal  numbers  indicate  the  century  in  which  the  glass  was  made. 


Aaron,  126,  174,  187,  193 
Abbey  of  St  Denis,  12th,  25,  121, 
141 

Abraham,  79,  122,  125,  181,  191, 
196,  227,  236 

Abrasion  of  flashed  glass,  8,  77 
Ages  of  Man,  273 
Albigenses,  73 

Aldegrever’s  windows  at  Conches, 
94 

Aldermaston,  Berks.,  13th,  35 
Alenin,  16th,  17th,  99,  322 
Al^rions  at  Montmorency,  305 
Alexander  III.,  Pope,  136 
All  Saints’,  North  Street,  York, 
14th,  15th,  40,  45 
All  Souls’,  Oxford,  15th,  45 
Allegorical  windows,  73,  76,  95, 
239,  242,  254,  257,  260,  274 
Ambulatory,  16 
Amiens,  13th,  14th,  40,  46 
Amorini  in  Renaissance  glass,  51 
Amyot,  Bishop,  238 
Andr6sy,  16th,  55 
Angers,  12th  to  16th,  167,  322 
Annunciation,  74,  80,  95,  203,  240, 
269,  273,  288,  299,  310,  317 
Antimony  yellow,  9 
Anricus,  294 

Apocalypse,  197,244,274,  275,  304 
Apse,  16 

Apsidal  Chapel,  17 
Arcis-sur-Aube,  16th,  55 


Arezzo,  16th,  56 

Arms  of  France,  79,  126,  188,  233, 
265 

Ascension  Window,  Le  Mans,  103 
Ashtead,  Surrey,  16th,  52 
Ashton-under-Lyne,  Lancs.,  15th, 
45 

Assisi,  St  Francis,  14th,  41 
Assumption,  80,  88,  106,  124,  126, 
169,  200,  257,  289 
Atmospheric  effect,  50 
Attila,  232,  270,  278,  289 
Attributes  of  Seven  Deadly  Sins,  80 
Auch,  early  16th,  47,  68 
Augsburg,  earliest  glass,  14th,  22, 
41 

Aulnay,  near  Troyes,  16th,  55,  320 
Aumale,  15th,  16th,  46,  55 
Auxerre,  13th  to  16th,  235 

Bacon’s  Essay,  128 
Bakers’  Guild,  108,  198 
Balaam,  174,  186,  223 
Bale  window,  Trinity,  Oxford,  52 
Balliol  Chapel,  16th,  52 
Bands  of  Grisaille  in  14th,  38,  67, 
69,  96 

Barbe  Cadier,  215 
Bar-sur-Seine,  16th,  55,  320 
Basingstoke,  16th,  52 
Basset,  Jean,  donor,  82 
Battle  of  Las  Navas,  289 
Bayeux,  15th,  46 


328 


STORIED  WINDOWS 


Beauchamp  Chapel,  Warwick, 
15th,  46,  47 

Beaumont-le-Roger,  15th,  46 
Beauvais  Cathedral,  13th,  14th, 
35,  40 

Beauvais  St  Etienne,  16th,  11, 16,54 
Becket  windows,  35 
Chartres,  137 
Sens,  219 
Tours,  176 

Beer  Ferrers,  Devon,  14th,  40 
Bernay,  15th,  46,  322 
Beziers,  13th,  35 

Biblia  Pauperum  windows,  64, 
109,  227 
Black  Death,  19 
Black  Prince,  29,  39,  84 
Blanche  of  Castille,  28,  84,  101, 
164,  271,  300 
Blason,  Maurice  de,  184 
Bologna,  St  Petronio,  16th,  57 
Bordeaux,  14th,  41 
Bourbon  portraits — 

Champigny-sur-Veude,  164 
Chartres,  124 
Moulins,  213,  217 
Tours,  161 

Bourges,  12th  to  17th,  190 
Bourgth^roulde,  16th,  55 
Brantigny,  near  Troyes,  16th,  55 
Bridan,  sculptor,  128 
Bridier,  Bishop,  90 
Brienne  la  Vieille,  near  Troyes, 
16th,  55 

Brienne  le  Chateau,  near  Troyes, 
16th,  55,  320 
Bristol,  14th,  40 
Brittany,  glass  in,  62 
Brou,  Notre  Dame  de,  at  Bourg, 
16th,  55 

Brussels,  16th,  17th,  56,  61 
Buckland,  Gloucester,  15th,  46 
Burning  Bush,  193,  221,  223 
Buron,  Romain,  glass  artist,  79 
Butchers’  Guild,  194,  245 

Cain  and  Abel,  151,  156,  249,  271, 
280,  295 

Calixtus  II.,  Pope,  140 
Cana,  Miracle  of,  80,  134,  288 
Canopy  of  13th,  14th,  15th  cen- 
tury, 32,  38,  43 


Canterbury,  13th,  21,  35, 130, 194, 
220,  229,  294,  300 
Cantier,  Bishop,  85 
Carcassonne,  14th,  41,  69 
Carentan,  14th,  15th,  41,  46 
Cariti,  Bishop,  87 
Carolus,  142 

Catherine  de  Medici,  31,  312 
Catherine  wheel,  87 
Caudebec,  15th,  16th,  46,  55 
Chalices  at  Crucifixion,  53,  214 
Chalons  Cathedral,  12th  to  16th, 
277,  322 

Chalons,  Notre  Dame,  1 6th, 289, 322 
,,  St  Alpin,  16th,  286 
Champigny-sur-Veude,  16th,  163, 
322 

Chanson  de  Roland,  139 
Chantilly,  16th,  54 
Chaource,  near  Troyes,  16th,  55, 
320 

Chapelle  de  Jacques  Coeur  at 
Bourges,  202 

Chapelle  Vendome  at  Chartres,  124 
Chardonnel,  donor,  130 
Chariots,  73 

Charlemagne,  139,  166  (see  St) 
Charles  le  Mauvais,  84,  87 
Charles  the  Victorious,  30,  307 
Charles  the  Wise,  30,  85 
Chartham,  Keut,  14th,  40 
Chartres  Cathedral,  12th  to  15th, 
119 

Chartres,  St  Pierre,  12th,  13th, 
14th,  115 

Chastelain,  Bishop,  113 
Chatillon,  Cardinal,  308 
Chaucer,  17,  64,  140 
Chavanges,  near  Troyes,  16th,  55 
Cheltenham,  St  Mary’s,  19 
Cinque  Cento  glass,  56 
Cirencester,  15th,  46 
Cistercian  Edict  of  1134,  22 
Clamecy,  16th,  55 
Clemens  Vitrearius,  64 
Clerestory,  16 

Clermont-Ferrand,  13th,  15th,  35, 
46 

Clovis,  79,  294,  298 
Cobalt  blue,  9 
Coeur,  Jacques,  202 
Coligny,  Admiral  de,  307,  308 


INDEX 


329 


Cologne  Dom,  13th,  14th,  16th, 
35,  41,  57 

Cologne,  St  Cunibert,  13th,  35 
Colours,  9 

Combs,  Suffolk,  15th,  45 
Conches,  16th,  94 
Constantine,  106,  141,  192 
Constantinople,  30,  149,  258 
Copper  in  ruby  glass,  9 
Cortona,  56 

Cousin,  glass  artist,  227,  303 
Coutances,  13th,  14th,  15th,  35, 
41,  46 

Crabeth,  glass  artists,  60 
Creation  windows — 

Auxerre,  236 
Bourges,  193 
Ch&lons,  280 

Champigny-sur-Veude,  165 
St  Florentin,  249 
Tours,  156 

Troyes,  Ste  Madeleine,  271 
Crefy,  29,  39 

Creney,  near  Troyes,  16th,  55 
Crossed  halo  of  Christ,  267,  278 
Crucifixion,  unusual  pictures  of — 
Bourges,  197 
Ervy,  254 
Moulins,  214 
Poitiers,  183 
Reims,  297 
Rouen,  65 
Tours,  152 
Westminster,  53 
Cusping,  18,  20,  146,  147,  286 

Dagobert,  King,  66 
Damville,  16th,  55 
Daniel,  128,  147,  199,  226,  239, 
259 

Daughters  of  Jerusalem  at  Orbais, 
290 

David,  113,  151,  157,  199,  200, 
215,  236 

Davrey,  near  Troyes,  16th,  55 
Day,  Lewis  F.,  ‘ Windows,’  12,  53, 
74,  99,  120,  161,  169,  276,285, 
307 

Death  of  the  Blessed  Virgin,  169, 
217,  232,  257, 273,  281,  310,  316 
Decadence  of  glass,  61,  251,  309, 
315 


De  La  Tour,  pastel  painter,  300 
Deerhurst,  Glos.,  14th,  40 
Demonology,  Conway’s,  81 
Descent  from  the  Cross,  197,  233, 
268,  274,  287,  308,  316 
Descent  of  the  Holy  Ghost,  166, 
251,  316 

Devitrification,  13 
Diane  de  Poitiers,  31,  118,  146, 
304,  312 

Didron,  glass  artist,  264 
Dijon,  north  transept,  12th,  25,  322 
Dinan,  15th,  46 

Dinteville,  de,  Bishops,  240,  306 
Dives  and  Lazarus,  191 
Doddiscombsleigh,  Devon,  15th,  46 
Dol,  14th,  41 

Dorchester,  Oxford,  12th,  14th, 
23,  40 

Dosnon,  near  Troyes,  16th,  55 
Double  borders,  127 
Doves  typifying  gifts  of  the  Spirit, 
15,  108,  121 
Drake,  F.  M.,  21 
Drapers’  Guild,  107 
Duchesse  Anne,  31,  62 
Dugdale’s  Warwickshire,  47 
Dunois,  Horae,  81 
Duomo  of  Milan,  16th,  57 
Durandal,  Sword  of  Roland,  143 
Durham,  glass  of,  1175,  23 

Early  Gothic,  31 
East  Harling,  Norfolk,  15th,  45 
Ecce  Homo,  250,  273,  315 
Economy  of  design — 

Chartres  Cathedral,  121 
„ St  Pierre,  117 
Reims,  St  Remi,  297 
Troyes,  St  Urbain,  266 
Ecouen,  16th,  309 
Elbeuf,  16th,  54 
Elland,  Yorks.,  15th,  45 
Ely,  14th,  40 

Emerald  Green,  9,  108,  125 
Emmaus,  122,  152,  166 
Enamel,  7 

Enamel  paints,  soft,  59,  227,  251 
Engrand  le  Prince,  glass  artist, 
73,  306 

Entry  into  Jerusalem,  116,  157, 
196,  267,  281 


330 


STOEIED  WINDOWS 


Erfurt,  14th,  41 
Ervy,  16th,  252,  320 
Essarts,  des,  Bishop,  89 
Estouteville,  Cardinal,  69 
Eugene  IV.,  Pope,  86 
Eutropius,  228 
Evangelists,  128,  200,  297 
Evreux,  13th  to  16th,  84 
Exeter,  14th,  21,  40 
Eymoutiers,  15th,  46 
Ezanville,  16th,  55 

Fae,  Bishop,  88 
Fairford,  16th,  47 
Falaise,  15th,  46 

Fauconnier,  glass  artist  (?)  207,  310 
Fecamp,  16th,  55 
Feeding  of  the  five  thousand,  229, 
288 

Ferrteres,  de,  Canon,  86 
Ferrieres  (Loiret),  16th,  55 
Festoons,  Renaissance,  51 
Fiacre,  76 

Fifteenth  century,  30 
Fifteenth-century  canopy,  43 
Fifteenth-century  windows,  42, 
71,  111,  200,  209,  282 
Fillastre,  Cardinal,  113 
Five  aisles,  72,  118 
Flamboyant  Style,  20,71,  124,  145, 
209,  298 

Flashed  blue  glass,  8,  49 
Flashed  ruby  glass,  6 
Flemish  glass,  52,  56 
Fleurs-de-lis,  28,  231,  279,  285, 
289,  294 

Fleurs-de-lis  in  arms  of  France 
(see  Arms  of  France) 
Fleurs-de-lis  in  stone,  91,  202,  206 
Fleurs-de-lis  tips,  179,  241,  267 
Flight  into  Egypt,  129,  151,  158, 
196,  222,  250,  252 
Floral  scroll,  33,  123,  219 
Florence,  Duomo,  late  15th,  47 
Flowing  tracery,  19 
Foreign  windows  in  England,  52 
Fourteenth  century,  29 
Fourteenth-century  canopy,  38 
Fourteenth-century  windows,  37, 
65,  69,  84,  96,  117, 188,  262,  265 
Four  transepts,  300 
Francis  Premier,  31,  146,  304 


Freiburg-am-Breisgau,  14th,  16th, 
41,  57 

Freneio,  donor,  106 

Furriers’  Guild,  107,  141,  196,  279 

Gabriel,  73,  74,  203,  206,  226 
Galicia,  140 
Gannat,  16th,  55 
Gatton  Hall,  Surrey,  16th,  52 
Geometrical  diaper,  33,  123 
Geometrical  tracery,  18 
Geraudot,  near  Troyes,  16th,  55 
G<$rente,  glass  artist,  104 
Gideon’s  fleece,  223 
Gisors,  16th,  55,  322 
Glass  from  France,  26 
Glasse  of  England,  47 
Glass-hunting,  63 
Gloucester,  14th,  20,  39 
‘Golden  Legend,’  36,  111,  192 
Goldsmiths’  Guild,  272 
Gontier,  glass  artist,  60,  260,  275 
Good  Samaritan,  124,  192,  221 
Good  Shepherd,  311 
Gothic  cusping  (see  Cusping) 
Gouda,  17th,  60 
Granada,  16th,  57 
Grand  A^ndely,  16th,  78,  322 
Grateley,  Hants.,  13th,  35,  238 
Grisaille,  11,  38 

Auxerre,  237,  239 
Chalons,  285,  286 
Chartres  Cathedral,  125,  127 
,,  St  Pierre,  117 
Le  Mans,  108 
Orbais  l’Abbaye,  292 
Rouen,  St  Ouen,  67 
S6es,  96,  97 
Sens,  227 

Troyes,  Cathedral,  259 
„ St  Urbain,  268 
Groslay,  16th,  55 
Grozing  iron,  10 
Gu6rande,  16th,  62 
Guerande,  Jacques  de,  156 
Guilds,  131,  136 

Guillaume  de  Marseille,  or  Mar- 
cillat,  glass  artist,  56 

Haddon  Hall  Chapel,  Derbyshire, 
54 

Hans,  de,  Bishop,  285 


INDEX 


331 


Harcourt  window,  14th,  86 
Heads  in  tracery  of  14th,  70 
Heiligen  Kreuz,  12th,  25 
Henri  Deux,  31,  79,  118,  303,  304, 
306 

Henri  Quatre,  78,  312 
Henry  the  Second,  23,  26,  136, 
184,  219 

Henry  the  Third,  28,  159 
Henry  the  Fifth,  276 
Henry  the  Seventh,  28,  30,  53 
Henry  the  Eighth,  31,  50 
Herblay,  16th,  55 
Hereford,  14th,  40 
Herkenrode  glass  in  Lichfield,  52 
Hesiod,  77 

Hessett,  Suffolk,  15th,  45 
Hildesheim,  11th,  22 
Horse  of  Dunois,  81 
Hotel  at  S6es,  to  be  avoided,  96 
Hotel  de  Normandie,  Rouen,  63 
Hucher,  Monograph  of  Le  Mans, 
110,  114 

Humpy  surface  of  glass,  34,  77 
Hundred  Years’  War,  29 

Iffs,  16th,  62 

Immaculate  conception,  146,  241, 
250,  287,  290 

Innocents,  158,  185,  201,  257,  269 
Invention  of  Cross,  233 
Isaiah,  128,  198,  252,  260,  266, 
299 

Isabella  the  Catholic,  53 

Jerusalem,  141,  178,  192,  221,  275 
Jerusalem  Chamber,  13th,  35 
Jesse  tree,  15 
Jesse  trees — 

Alenin,  99 
Angers,  174 
Beauvais  Cathedral,  16 
,,  St  Etienne,  16 
Chartres,  120 
Evreux,  91 
Le  Mans,  109 
Sens,  223 
Soissons,  301 
Tours,  157 

Troyes  Cathedral,  258,  259 
,,  Ste  Madeleine,  272 
,,  St  Nizier,  274 


Joan  of  Arc,  30,  86 
Job,  74,  186,  254,  259 
John,  King,  28,  78 
John  of  Gaunt,  29 
John  of  Salisbury,  137 
Jonah,  110,  151,  266 
Joseph,  64,  179,  198,  227,  236, 
241,  259,  315 

Joseph,  Saint,  rod  that  budded, 
117,  281,  288 
Joshua,  178 

Jossier,  O.  F.  Cur4  de  St  Urbain, 
263,  267,  269 
Jub4,  stone,  251,  270 
Judas,  76,  157,  164,  197,  267,  282 
Judgment  of  Solomon,  276 

Katherine  of  Aragon,  54 
King’s  College  Chapel,  16th,  52 
King’s  ‘ Study  Book,’  97 

Landscape  in  Renaissance  glass, 
72,  310 

Laon,  13th,  298 

Lasteyrie,  Count  Ferdinand  de, 
116 

Last  Judgment,  73,  122,  172,  188, 
196,  224,  275,  277 
Last  Supper,  95,  151,  157,  197, 
250,  276,  282,  287 
Late  Gothic,  42 

Later  Renaissance  glass,  58,  200, 
275 

Lattice-work  in  glass  at  S£es,  97 
Laval- Montmorenci,  160,  251,  307 
Lazarus,  raising  of,  192,  318  [ 
LeMans,  12th,  13th,  15th,  101, 323 
Lescuyer,  glass  artist,  204,  205, 
207 

Leverington,  Cambs.,  15th,  16,  46 
Lhuitre,  near  Troyes,  16th,  55,  321 
Liberal  Arts,  240 
Lichfield,  16th,  52 
Li6ge  Cathedral,  16th,  56 
,,  St  Jacques,  16th,  56 
,,  St  Martin,  16th,  56 
Limoges,  14th,  41 
Limoges  enamels,  118,  298 
Lincoln,  13th,  14th,  35,  40 
Lisieux,  15th,  46 
Loches,  Priests  of,  158 
Long  Melford,  Suffolk,  15th,  45 


332 


STORIED  WINDOWS 


Longpr6,  near  Troyes,  16th,  55, 
321 

Lot,  180,  236 
Loudun,  Bishop,  107 
Louis  VII.,  23,  26,  136 
„ VIII.,  84 
,,  IX.  (see  Saint  Louis) 

„ XI.,  30,  86,  90,  93 
Lowick,  Northants,  14th,  40 
Ludlow,  Salop,  14th,  loth,  14,  16, 
40,  45 

Lullingstone,  Kent,  15th,  45 
Lyenin,  glass  artist,  223,  259 
Lyon,  13th,  35 

Magi,  82,  117,  126,  157,  195,  196, 
201,  205,  250,  257,  259,  271,  278 
Magnant,  near  Troyes,  16th,  55 
Malchus’  ear,  74,  206,  259 
Male,  Emil,  81,  111,  184 
Malvern,  15th,  45,  249 
Mancetter,  Warwickshire,  14th, 
16,  40 

Manganese,  5 
Manna,  95,  286,  316 
Mantes,  14th,  41 
Mantes,  Jean  de,  118 
Marburg,  13th,  36 
Marcellus,  Bishop,  65 
Margaretting,  Essex,  15th,  16,  46 
Maries,  73,  86,  152,  259,  275,  306, 
311 

Marriage  of  the  Virgin  Mary,  117, 
250,  281,  288 
Marseilles,  William  of,  56 
Martham,  Norfolk,  15th,  45 
Martin  and  Cahier,  Monograph  of 
Bourges,  109,  194 
Masons’  Guild,  191,  19S 
Matilda,  Countess,  199 
Melbury-Bubb,  Dorset,  loth,  46 
Melchizedek,  126,  223,  271 
M^loizes,  Marquis  des,  200 
Merchant  in  the  Temple,  281,  288 
Merivale,  Warwickshire,  14th,  40 
Merson,  ‘ Les  Vitraux,’  121,  260 
Merton  College  Chapel,  early  14th, 
40 

Mesnil-Aubry,  16th,  55 
Methley,  Yorks.,  15th,  45 
Method,  10 

Meulent,  Jean  de,  Canon,  92 


Michael  weighing  souls,  122,  196, 
301 

Middle  Gothic  glass,  27 
Middleton,  Lancs.,  16th,  52 
Milan,  Duomo,  16th,  57 
Milton,  119,  139 
Miracle  of  Cana  (see  Cana) 

Moles,  Arnaut  de,  glass  artist,  47 
Molins,  R.  de,  Canon,  89 
Moncontour,  16th,  62 
Montagnon,  near  Troyes,  16th,  55 
Monte  Cassimo,  glass  of,  1066,  22 
Montfort  l’Amaury,  16th,  314 
Montfoy,  near  Troyes,  16th,  55, 
321 

Monti^ramey,  near  Troyes,  16th, 
55 

Montier-en-Der,  near  Troyes,  16th, 
55 

Montmorency,  16th,  305,  323 
Montreuil,  near  Troyes,  16th,  55 
Monville,  16th,  55 
Moses,  113,  147,  174,  186,  193, 
195,  198,  221,  239,  240,  290, 
300 

Moulins,  15th,  16th,  209 
Munich,  15th,  46 
Mus^e  at  Paris,  in  the  Trocad^ro, 
25,  35,  262,  277,  303 
Mus4e  at  Rouen,  35,  77 
Museum,  Victoria  and  Albert,  35, 
46,  54,  56 

Mussy  - sur  - Seine,  near  Troyes, 
16th,  55 

Narbonne,  14th,  41 
Natural  foliage  in  14th,  38 
Nesle-Saint-Saire,  14th,  41 
Nettlestead,  Kent,  15th,  45 
New  College  Chapel,  late  14th,  40 
Newnham  Pcaddox,  Denbigh,  15th, 
46 

Nicolaus,  Cardinal  de  Nonancourt, 
92 

Nieder-Hasslach,  14th,  41 
Nimbus  in  one  piece  with  the  head, 
45 

Nimbus  in  perspective,  51 
Noah,  113,  123,  147,  236,  266 
No4s,  near  Troyes,  16th,  55,  321 
Nonancourt,  15th,  16th,  46,  100 
Norbury,  Derbyshire,  14th,  40 


INDEX 


333 


Norman  architecture,  25 
North  Luffenham,  Rutland,  14th, 
40 

Notre  Dame  de  la  belle  Verri^re, 
133 

‘ Nouvelle  Alliance  ’ windows — 
Bourges,  194 
Chartres,  123 
Le  Mans,  109 
Orbais  l’Abbaye,  291 
Sens,  226 
Tours,  151 

Nuremberg,  St  Lorenz,  15th,  46 
,,  St  Sebald’s,  14th, 
16th,  41,  57 

Oracula  Sibyllina,  68 
Orbais  l’Abbaye,  13th,  290 
Oriflamme,  127,  142 
Ox  and  Ass,  heads  of,  157 
Oxford,  All  Souls,  15th,  45 
,,  Balliol,  16th,  52 

,,  Cathedral,  14th,  40 

,,  Lincoln,  17th,  60 

,,  Merton,  early  14th,  40 

,,  New,  late  14th,  40 

, , St  Michael’s,  early  1 4th,  40 

,,  Trinity,  15th,  16th,  45,  52 

,,  University  College,  17th, 

61 

,,  Wadham,  16th,  17th,  52, 
60 

Palace  of  Liesse,  95 
Paper  patterns,  49 
Paris  environs — 

Chantilly  (25  miles),  16th,  313 
Ecouen,  16th,  309 
Montfort  l’Amaury  (29  miles), 
16th,  314 

Montmorency,  16th,  305 
St  Denis,  12th,  25 
Vincennes,  16th,  303 
Paris,  Mus6e  de  Sculpture,  Troca- 
d&ro,  12th  to  16th  (see 
Mus4e) 

,,  Notre  Dame,  Rose  of  N. 

Transept,  13th,  35 
,,  St  Etienne  du  Mont  (near 
Pantheon),  16th,  54,  268 
,,  St  Eustache  (near  the 
Halles),  17th,  61 


Paris,  St  Germain  l’Auxerrois  (near 
Louvre),  16th,  54 
,,  St  Gervais  (behind  Hotel  de 
Ville),  16th,  54,  276 
,,  St  Merri  (near  Tour  St 
Jacques),  16th,  54 
,,  St  S^verin  (near  Boulevard 
St  Michel),  15th,  46 
,,  SainteChapelle,13th;  (Rose, 
15th),  35 

Patina,  13,  102,  231 
Pavilion,  near  Troyes,  16th,  55 
Pearled  ring  round  13th  medal- 
lions, 33 

Pelican,  110,  151,  195 
Perpendicular,  English,  20 
Peter  with  scales,  83 
Philip  Augustus,  26,  78,  84,  256 
Philip  of  Valois,  29 
Pinaigrier,  glass  artist,  118,  276 
Pirmil,  Vincent  de,  154 
P141an,  15th,  46,  62 
Ploermel,  16th,  62 
Pointed  shoes  in  14th,  69 
Poitiers  Cathedral,  12th,  13th, 
177,  323 

Poitiers  St  Radegonde,  14th,  188 
Poivres,  near  Troyes,  16th,  55 
Pont  Audemer,  16th,  55,  322 
Pont  de  l’Arche,  14th,  16th,  41,  55 
Pont  l’Evdque,  16th,  55 
Pontigny,  136,  218,  244 
Pontoise,  16th,  55 
Pope  Adrien  VI.,  306 
,,  Alexander  III.,  136 
,,  Calixtus  II.,  140 
,,  Clement  V.,  118 
,,  Eugene  IV.,  86 
,,  Innocent  IV.,  106 
,,  Urbain  IV.,  263 
Pot-metal,  6 
Pr6,  Jean  de,  Bishop,  88 
Presentation  of  the  Virgin  Mary, 
195,  281,  288,  290 
Price  of  glass,  48,  49,  52 
Prodigal  Son,  125,  186,  193,  221, 
238  259 

Prophets,  97,  128,  174,  199,  266, 
284,  297 

Quarry,  11 

‘ Quentin  Durward,’  30 


334 


STORIED  WINDOWS 


Quimper,  15th,  46,  62 

Radiation  of  blue,  132 
Raphael,  206,  310 
Reflected  colour  from  modern 
glass,  14,  298 
Regensburg,  14th,  41 
Reims  Cathedral,  13th,  293 
,,  St  Remi,  12th,  13th,  296 
Reine  Claude,  31 
Relief,  50 

Religion  trampling  on  heresy,  274 
Renaissance,  30,  31 
Renaissance  glass,  50 
Ren£,  King,  86,  113,  176 
Repiquage  en  chef-d’oeuvre,  262 
Richard  Coeur  de  Lion,  26,  78 
Richelieu,  163 
Riom,  15th,  46,  323 
Rivenhall,  Essex,  12th,  23 
Rolandi,  Bishop,  105 
Romanesque  windows,  25 
Rose  de  France  at  Chartres,  126 
Rose  connected  by  tracery,  97,  112 
Rosnay,  near  Troyes,  16th,  55,  321 
Ross,  St  Mary’s,  15th,  46 
Rouen  Cathedral,  13th,  14th,  64 
,,  St  Maclou,  15th,  71 
,,  St  Ouen,  14th,  15th,  66 

,,  St  Patrice,  16th,  74 

,,  St  Vincent,  16th,  72 

,,  Mus4e,  77 

Rouilly  Sacey,  near  Troyes,  16th, 
55 

Rouilly  St  Loup,  near  Troyes, 
16th,  55 
Ruby  glass,  6,  9 

Rumilly  les  Vaudes,  near  Troyes, 
16th,  55,  321 

Saddle-bars,  14 
Saints — 

Agatha,  105,  233 
Agnes,  105,  116,  202,  233 
Ambrose,  93,  201,  262 
Andrew,  148,  151,  174,  177,  237, 
265,  283 

Anne,  73,  109,  117,  126,  212, 
215,  262,  276,  281 
Antony,  73,  132,  177,  259 
Apollinarius,  127 
Augustine,  68,  93,  201 


Saints — 

Barbe,  74,  215,  217,  273,  283, 
300,  308 

Blaise,  148,  179,  188,  231,  307 
Catherine,  54,  87,  168,  203,  213, 

239,  300 
Cecilia,  233 

Charlemagne,  142,  213, 233,  241, 
242,  288 

Christine  of  Bolsena,  253 
Christopher,  83,  147,  172,  174, 
241,  306 

Claude,  241,  262,  275 

Clotilde,  79,  295 

Colombe,  224,  226 

Denis,  86, 127, 155, 184, 201,  308 

Elizabeth,  212 

Eloi,  111,  174,  238,  270,  272 
Eustache,  74,  123,  159,  172,  220, 
238 

FerrSol,  153,  232 
Fiacre,  75,  233 
Francis,  260,  304,  306 
Gatien,  157,  160,  172 
Genevieve,  232,  270,  308 
George,  54,  94,  125 
Germain,  239,  270 
Gervais,  102,  105,  106 
Gregory,  93,  171,  201,  262 
Helena,  233,  256,  260 
Hilaire,  204,  248 
James,  148,  151,  159,  166,  175, 
198,  203,  238,  241 
James  of  Campostella,  73,  140, 
143,  289 

Jerome,  201,  262,  307 
John  the  Baptist,  72,  116,  129, 
176,  177,  198,  204,  211,  230, 

240,  245,  275 

John  the  Evangelist,  124,  148, 
159,  177,  198,  204,  211,  231, 
240,  257,  262 

Julian,  64,  102,  130,  153,  175, 
232,  244 

Laurence,  125,  160,  174,  205, 
226,  237 

Louis,  28,  75,  160, 164,  241,  242, 
249,  259,  263,  271,  300,  308, 
310 

Lucy,  105,  233 

Margaret,  131,  230,  237,  265 

Martha,  105,  111,  308 


INDEX 


335 


Saints — 

Martial,  159,  160 
Martin,  132,  152,  153,  158,  160, 
175,  184,  248,  269 
Mary  Magdalene,  146,  192,  210, 
227,  239,  268,  272,  286,  307 
Mathias,  175,  200,  260 
Maurice,  156,  157,  171,  172 
Memmius,  278 

Michael,  88,  99,  147,  160,  171, 
204,  211,  226,  262 
Nicolas,  131,  155,  191,  224,  231, 
238,  245,  256,  274 
Ouen,  66,  272 
Patrice,  74 

Paul,  106,  130,  172,  184,  193, 
222,  231-3,  257 

Peter,  72,  116,  129,  148,  156, 
174,  183,  214,  231,  233,  275 
Quentin,  172 
Romain,  70,  79 

Sebastian,  82,  148,  172,  202, 
241,  259,  274 

Stephen,  103,  192,  197,  205, 
222,  224,  269 

Thomas,  152,  154,  175,  198 
Thomas  of  Canterbury,  135,  176, 
219 

Vincent,  73,  155,  169,  197,  307 
St  (Churches) — 

Acceul,  Ecouen,  16th,  311 
Alpin,  Chalons,  16th,  286 
Bonnet,  Bourges,  16th,  206 
Cross,  Winchester,  15th,  45 
Cunibert,  Cologne,  13th,  35 
Denis,  near  Paris,  12th,  25 
Dennis,  York,  14th,  40 
Elizabeth,  Marburg,  13th,  36 
Etienne,  Beauvais,  16th,  11,  16, 
54 

Etienne  du  Mont,  Paris,  16th, 
54,  268 

Eustache,  Paris,  17th,  61 
Francis,  Assisi,  14th,  41 
George’s,  Hanover  Square,  16th, 
16,  52 

George’s,  Windsor,  15th,  45 
Germain  l’Auxerrois,  Paris, 
16th,  54 

Gervais,  Paris,  16th,  54,  276 
Gudule,  Brussels,  16th,  17th, 
56,  61 


St  (Churches) — 

Jacques,  Li£ge,  16th,  56 
Jean,  Troyes,  16th,  276 
John’s,  York,  14th,  40 
Lorenz,  Nuremberg,  15th,  46 
Maclou,  Rouen,  15th,  71 
Margaret’s,  Westminster,  16th, 
52 

Madeleine,  Troyes,  16th,  270 
Martin’s,  Li6ge,  16th,  56 
Martin  cum  Gregory,  York, 
14th,  40 

Martinis- Vignes,  Troyes,  17th, 
275 

Martin’s,  Windermere,  15th,  46, 
54 

Martin’s  le  Grand,  York,  15th, 
45 

Mary’s,  Cheltenham  (Flowing 
Tracery),  19 
Mary’s,  Ross,  15th,  46 
Mary’s,  Shrewsbury,  14th,  15th, 
16th,  40,  45,  52 
Merri,  Paris,  16th,  54 
Michael’s,  York,  15th,  45 
Nazaire,  Carcassonne,  14th,  41, 
69 

Nizier,  Troyes,  16th,  273 
Ouen,  Rouen,  14th,  15th,  66 
Patrice,  Rouen,  16th,  74 
Peter’s,  Cologne,  16th,  57 
Petronio,  Bologna,  16th,  57 
Pierre,  Chartres,  12th,  13th, 
14th,  115 

Radegonde,  Poitiers,  14th,  188 
Remi,  Reims,  12th,  13th,  296 
Sebald’s,  Nuremberg,  14th,  16th, 
41,  57 

Serge,  Angers,  12th,  15th,  176 
S^verin,  Paris,  15th,  46 
Stephen’s,  Westminster,  15th,  45 
Taurin,  Evreux,  15th,  93 
Urbain,  Troyes,  13th  to  16th,  263 
Vincent,  Rouen,  16th,  72 
St  (Places) — 

Firmin,  near  Chantilly,  16th,  55 
Florentin,  16th,  17th,  244 
Germain,  near  Troyes,  16th,  55 
Jago  de  Campostella,  140,  142 
Jean-aux-Bois,  near  Compi^gne, 
13th,  35 

Julien  du  Sault,  13th,  16th,  230 


33G 


STORIED  WINDOWS 


St  (Places) — 

Leger,  near  Troyes,  16th,  55, 
321 

Lo,  15th,  46 

Neot,  Cornwall,  16th,  52,  249 
Parres-les-Tertres,  near  Troyes, 
16th,  55,  321 

Pouanges,  near  Troyes,  16th,  55 
Quentin,  12th,  13th,  16th,  25, 
35,  299 

Saulge,  16th,  15,  322 
Saint  Nicholas’  Clerks,  131 
Sainte  Chapelle,  13th,  35,  49,  165, 
264 

Salisbury,  13th,  35 
Salome,  72,  198,  211 
Samson,  237 
Santa  Claus,  131 
Santa  Croce,  Florence,  14th,  41 
Santa  Maria  Novella,  14th,  15th, 
16th,  41,  57 
S<$es,  14th,  96 

School  of  St  Denis,  122,  147,  152, 
184 

Seated  Dead,  293 
Selling,  Kent,  14th,  40 
Semur,  13th,  35 
Sens,  13th,  16th,  218,  323 
Seven  Deadly  Sins,  80 
Seven  Saints,  72 
Seville,  16th,  57 
Shakespeare,  28,  131 
Shaped  bars  of  13th,  32,  123,  219 
Sheering,  Essex,  14th,  40 
Shepherds,  82,  126,  157,  310,  317 
Shrewsbury,  St  Mary’s,  14th,  15th, 
16th,  16,  40,  45,  52 
Sibyls,  67,  223,  252 
Sienna,  Duomo,  16th,  57 
Silver  stain,  7 
Snouted  fiend,  81 
Soissons,  13th,  300 
Solomon,  126,  157 
Southwell,  16th,  52 
Sower,  201 
Spenser,  SI 

Spirits  in  Prison,  152,  157,  197, 
268 

Spontaneous  crystallisation,  14 
Stanford,  Northants,  14th,  40 
Stanton  Harcourt,  Oxfordshire, 
13th,  35 


Stipple  shading,  42 
Strasburg,  12th,  14th,  25,  41 
Streaky  ruby  glass,  33 
Suger,  Abbot  of  St  Denis,  121, 
152 

Synagogue,  195,  226,  284,  291 

Tanners’  Guild,  137,  193 
Tapestry,  176,  298,  302 
Tegernsee,  11th,  22 
Tewkesbury,  14th,  40 
Thaxted,  Essex,  15th,  46 
Th^ophile,  80,  105,  106,  231,  237, 
258,  274 

Thieffrain,  near  Troyes,  16th,  55 
Thirteenth  century,  28 
Thirteenth-century  glass,  32 
Thornhill,  Yorks.,  15th,  45,  157 
Tiburtine  Sibyl,  228,  252,  289 
Tobias,  254,  259 
Toledo,  16th,  57 

Torvilliers,  near  Troyes,  16th,  55, 
321 

Toulouse,  14th,  41,  73 
Tours,  13  th,  14th,  16th,  150 
Tracery,  18,  188 
Transfiguration,  122,  275,  282 
Transitional  windows — 

Auch,  early  16th,  47 
Auxerre,  early  16th,  241 
Chalons,  early  14th  and  16th, 
282,  283 

Evreux,  early  14th  and  early 
16th,  90,  92 

Fairford,  16th,  latest  Gothic, 
47 

Florence,  late  15th,  47 
Merton,  early  14th,  40 
Moulins,  late  15th,  214 
New  College,  late  14th,  40 
Poitiers,  late  12th,  181 
Tours,  early  14th,  152 
Troyes  Cathedral,  late  15th, 
259 

Troyes,  St  Urbain,  early  14th, 
265 

Vendome,  early  16th,  147 
Treading  of  wine-press,  95 
Tree  of  Knowledge,  254,  258 
Trefoil,  18,  202 
Triforium,  16 

Trinity,  Holy,  148,  241,  254,  274 


INDEX 


337 


Trinity  Library  and  Hall,  Oxford, 
15th,  16th,  45,  52 
Triumph  of  the  Cross,  76,  272 
Triumph  of  the  Virgin,  95,  222 
Triumphs  of  Petrarch,  253 
Trocad^ro  Mus^e  in  Paris  (see 
Mus6e) 

Troyes  Cathedral,  13th  to  17th,  255 
,,  St  Jean,  16th,  276 
,,  Ste  Madeleine,  15th,  16th, 
270,  321 

,,  Martin  - 6s  - Vignes,  17th, 
275,  321 

,,  St  Nizier,  16th,  273,  321 
,,  St  Urbain,  13th  to  16th,  263 
Turban  of  Pagan,  24,  289 
Turpin,  140 
Twelfth  century,  25 
Twelfth-century  glass,  23 
Twelfth -century  windows — 
Angers,  168 
Bourges,  205 
Chalons,  277 
Chartres,  120,  133 
Dijon,  25 
Le  Mans,  102 
Poitiers,  181 
Reims,  St  Remi,  297 
Rivenhall,  Essex,  23 
St  Denis,  25 
St  Quentin,  25 
Trocadero,  Paris,  277,  303 
VendCme,  147,  148 
Tyerri,  127 
Tympanum,  18 

Ulm,  15th,  46 
Urbain  IV. , Pope,  263 

Valentigny,  near  Troyes,  16th,  55 
Vallon,  du,  Bishop,  90 
Valmont,  16th,  55 
Van  Linge,  glass  artist,  60 
Van  Orley,  glass  artist,  56 
Vendeuvre,  near  Troyes,  16th,  55 
VendCme,  12th,  15th,  16  th,  145 
Vendome,  Chapelle,  at  Chartres, 
124 

Verneuil,  15th,  16th,  46,  55,  100, 
322 

Veronica,  206 


Verrat,  glass  artist,  223,  259 
Verri&re,  26 

Verrteres  (Aube),  16th,  55 
Vertical  bands  of  grisaille,  117, 
239,  294 

Vesica,  147,  183,  189,  197 
Vessel  of  God  assailed  by  demons, 
225,  242 

Victoria  and  Albert  Museum  (.see 
Museum) 

Villemoiron,  near  Troyes,  16th,  55 
Villeneuve,  de,  Bishop,  239 
Villequier,  16th,  55 
Vincennes,  16th,  303 
Viollet-le-Duc,  69,  132,  133,  237, 
267 

Virtues  and  Vices,  239 
Visitation,  126, 129,  157,  250,  269, 
310 

Vitrail,  26 

Wadham,  16th,  17th,  52,  61 
Waltham  Abbey,  53 
Waterperry,  Oxfordshire,  14th,  40 
Weathered  surface,  13 
Wells,  Somerset,  14th,  15th,  16, 
40,  45 

West  Horsley,  Surrey,  13th,  35 
West  Wickham,  Kent,  15th,  45 
Westlake,  N.  H.  J.,  89,  91,  92, 
102,  123,  138,  184,  306 
Westminster,  Jerusalem  Chamber, 
13th,  35 

,,  St  Margaret’s,  16th, 

52 

,,  St  Stephen’s  Chapel, 

15th,  45 

Westwell,  Kent,  13th,  16,  35 
White  faces,  43 
White  figures,  71,  85 
White  glass,  5 

Wiggenhall  St  Mary  Magdalene, 
Norfolk,  15th,  45 
Willesborough,  Kent,  14th,  40 
William  of  Marseilles,  glass  artist, 
56 

William  of  Sens,  architect,  229 
Winchester,  15th,  45 
Windsor,  St  George’s,  15th,  45 
Wine-press,  95,  260 
Winston,  Charles,  50,  52,  53,  61 


338 


STORIED  WINDOWS 


Wise  and  foolish  virgins,  257 
Works  of  mercy,  73 
Works  of  the  months,  132,  173 
Wrangle,  Lincoln,  14th,  40 
Wykeham’s  glass,  40 

Yellow  pot-metal,  7 
Yellow  stain,  earliest,  8 
Yocht,  16th,  55 

York,  All  Saints,  North  St.,  14th, 
15th,  40,  45 


York  Minster,  12th  to  15th,  23, 
35,  40,  45,  184 
,,  St  Dennis,  14th,  40 
,,  St  John’s,  14th,  40 
,,  St  Martin  cum  Gregory, 
14th,  40 

,,  St  Martin’s  le  Grand,  15th, 
45 

,,  St  Michael’s,  15th,  45 
Zodiac,  signs  of,  132,  173 


111 

ni 


PRINTED  BY  WILLIAM  BLACKWOOD  AND  .SONS. 


GETTY  RESEARCH  INSTITUTE 


3 3125  01498  7412 


